THE  PRIVATE  COLLECTION 
OF 


MR.  ARTHUR  DAVISON  FICKE 


TO  BE  SOLD  AT  THE  GALLERIES 

OF 

THE  AMERICAN  ART  ASSOCIATION 
MADISON  SQUARE  SOUTH 
NEW  YORK 

(  L ' 


RARE  AND  VALUABLE 

JAPANESE  COLOR  PRINTS 


i  ■ 


<iiL^<KSLu JJk  ^  ^oa*3C^ulU, 


Digitized  by  the  Internet  Archive 
in  2020  with  funding  from 
Getty  Research  Institute 


https://archive.org/details/japanesecolorpriOOamer_O 


NOTES  BY 


Mr.  Frederick  W.  Gookin 

ON  THE  SALE  OF  THE 

JAPANESE  PRINT  COLLECTION 

OF 

Mr.  Arthur  Davison  Ficke 


TO  BE  HELD  ON 

FEBRUARY  TENTH  AND  ELEVENTH 

NINETEEN  HUNDRED  TWENTY 
AT  THE 

AMERICAN  ART  ASSOCIATION  GALLERIES 


NEW  YORK  CITY 


During  the  thirty-two  years  or  thereabouts  since 
the  earliest  collections  of  Japanese  color-prints  in  the 
United  States  began  to  be  formed,  buyers  have  found 
dealers’  stocks  abundant  at  first,  then  gradually  becom¬ 
ing  less  ample,  though  the  lure  of  steadily  mounting 
prices  enabled  the  dealers  to  draw  from  their  hiding 
places  many  prints  of  the  higher  grades,  which,  in  the 
earlier  years,  their  owners  could  not  be  induced  to  sell. 
The  growing  scarcity  has  now  reached  the  stage  where 
few  dealers  have  stocks  of  any  great  magnitude,  and  it 
seems  likely  that  henceforth  prints  of  the  most  distin¬ 
guished  quality  will  seldom  be  obtainable  save  through 
the  breaking  up  of  existing  collections. 

Another  factor  in  the  situation  is  that  the  Japanese 
have  at  last  become  keenly  alive  to  the  artistic  worth 
of  the  prints  designed  by  the  greater  masters,  and  are 
now  eagerly  collecting  them;  indeed,  it  is  said  that  for 
every  collector  in  the  United  States  there  are  perhaps  a 
hundred  in  Japan,  and  the  number  is  steadily  increasing. 
One  of  the  natural  results  of  this  awakened  appreciation 
is  a  large  enhancement  of  values,  especially  for  prints  of 
the  better  class;  and  those  that  fulfil  the  exacting  re¬ 
quirements  of  Japanese  taste  now  command  prices  in 
Tokyo  that  would  have  been  looked  upon  a  few  years 
ago  as  unbelieveably  high,  but  may  not  improbably 
seem  astonishingly  small  a  few  years  hence. 

This  condition  of  the  market  lends  special  interest 
to  Mr.  Ficke’s  decision  to  sell  his  collection,  though 
under  any  circumstances  that  decision  could  not  fail  to 
attract  print  lovers,  for  it  is  not  too  much  to  say  that 


the  collection  is  easily  the  most  important  that  has  ever 
been  offered  at  public  sale  in  the  United  States.  This 
is  not  only  because  of  its  greater  treasures — which  can¬ 
not  fail  to  excite  active  competition — but  rather  because 
of  its  general  high  average  and  the  fact  that  every 
print  has  been  selected  by  a  collector  of  discrimination, 
taste,  knowledge  and  judgment,  as  those  who  know 
Mr.  Ficke  personally,  or  are  familiar  with  his  deserv¬ 
edly  popular  “Chats  on  Japanese  Prints’’ — a  book  that 
has  recently  had  the  honor  of  being  issued  in  Tokyo,  in 
a  Japanese  translation — do  not  need  to  be  told.  For 
the  small  buyers,  therefore,  and  the  inexperienced  col¬ 
lectors,  as  well  as  “the  old  hands  at  the  game”,  this 
sale  offers  an  unusual  opportunity. 

Frederick  W.  Gookin. 


ON  FREE  PUBLIC  VIEW 

9:00  A.  M.  UNTIL  6:00  P.  M. 

AT  THE  AMERICAN  ART  GALLERIES 

MADISON  SQUARE  SOUTH,  NEW  YORK 

FROM  THURSDAY,  FEBRUARY  5th,  1920 

UNTIL  THE  DATE  OF  SALE,  INCLUSIVE 


AN  EXCEPTIONALLY  IMPORTANT  COLLECTION 

OF 

RARE  AND  VALUABLE 

JAPANESE  COLOR  PRINTS 
AND  PAINTINGS 


TO  BE  SOLD  AT  UNRESTRICTED  PUBLIC  SALE 

ON  THE  AFTERNOONS  AND  EVENINGS  OF 

TUESDAY  AND  WEDNESDAY 
FEBRUARY  10th  AND  11th,  1920 

BEGINNING  EACH  AFTERNOON  AT  2:30  O’CLOCK 
AND  EACH  EVENING  AT  8:15  O’CLOCK 

AT  THE  AMERICAN  ART  GALLERIES 

MADISON  SQUARE  SOUTH 


ILLUSTRATED  CATALOGUE 

OF  AN 

EXCEPTIONALLY  IMPORTANT  COLLECTION 

OF 

RARE  AND  VALUABLE 

JAPANESE  COLOR  PRINTS 

TOGETHER  WITH  A  FEW 

PAINTINGS  OF  THE  UKIOYE  SCHOOL 


THE  PROPERTY  OF 

Arthur  Davison  Ficke 

AUTHOR  OF 

“CHATS  ON  JAPANESE  PRINTS” 
“TWELVE  JAPANESE  PAINTERS”,  ETC.,  ETC. 


TO  BE  SOLD  AT  UNRESTRICTED  PUBLIC  SALE 

AT  THE  AMERICAN  ART  GALLERIES 

ON  THE  AFTERNOONS  AND  EVENINGS  HERETOFORE  STATED 


CATALOGUE  BY  THE  OWNER 


THE  SALE  WILL  BE  CONDUCTED  BY 

MR.  THOMAS  E.  KIRBY 

AND  HIS  ASSISTANT,  MR.  OTTO  BERNET,  OF  THE 

AMERICAN  ART  ASSOCIATION,  Managers 


NEW  YORK 
1920 


FOREWORD 


The  prints  herein  catalogued  are  the  fruit  of  fifteen  years 
of  search,  in  Japan,  Europe,  and  America,  for  such  select  speci¬ 
mens  of  the  art  as  seemed  worthy  to  be  preserved  as  a  lasting 
treasure.  Design,  impression,  and  condition  have  all  been 
taken  into  account  in  making  the  choice.  Every  artist  of  any 
consequence  is  represented;  the  greatest  are  represented  by 
many  and  famous  examples.  In  the  collection,  the  experienced 
judge  will  readily  recognize  the  presence  of  many  remarkable 
and  important  specimens;  and  it  is  hoped  that  he  will  also  feel 
that  he  recognizes  the  absence  of  poor  ones.  Long  ago,  the 
owner  of  the  collection  discarded  those  inferior  or  trivial  exam¬ 
ples  the  acquisition  of  which  is  the  price  paid  by  every  collector 
for  his  education ;  and  there  now  remains  no  print  that  does  not, 
in  the  owner’s  opinion,  contain  some  definite  element  of  interest 
and  of  beauty. 

Special  attention  may  perhaps  be  called  to  the  pillar-prints 
in  the  collection.  This  form  of  print  has  always  been  the  fav¬ 
orite  one  of  the  owner,  and  he  has  searched  the  world  for  them ; 
as  a  result,  it  is  perhaps  not  too  much  to  say  that  never  before, 
in  Europe,  America  or  Japan,  has  so  large  a  number  of  dis¬ 
tinguished  examples  in  choice  condition  been  offered  to  the 
public.  The  various  rare  prints  of  the  Primitive  and  the 
Iviyonaga  Periods,  and  the  many  admirable  Hiroshiges,  are 
also  worthy  of  note.  Except  for  a  few  unusually  good  sheets, 
prints  by  the  late  and  decadent  artists  are  wholly  absent.  The 
attentive  eye  will  note  that  the  majority  of  the  prints  are  in 
flawless  condition,  and  that  even  those  prints  which  show  some 
mark  of  time  are  by  no  means  of  the  lifeless  chocolate-coated 
type  that  is  so  common. 

To  many  students,  Japanese  prints  are  among  the  most 
precious  products  of  the  aesthetic  powers  of  the  human  spirit. 
They  contain  certain  perfections  that  exist  nowhere  else,  either 
in  actuality  or  in  art.  The  delight  of  the  amateur  when  he 
discovers  one  of  the  authentic  masterpieces  is  something  that  no 


words  can  measure.  This  collection,  like  any  real  collection,  has 
been  an  absorbing  passion  to  its  owner.  And  it  is  hoped  that 
it  will  now,  as  exhibited,  interest  many  spectators  who  are  not, 
by  any  possibility,  prospective  buyers.  Their  attendance  at  the 
exhibition  is  especially  invited. 

Since  the  owner’s  handbook,  “Chats  on  Japanese  Prints,” 
(published  in  English  in  London  and  New  York,  1914,  and  in 
the  Japanese  translation  of  Captain  N.  Ochiai  in  Tokyo,  1919) 
is  readily  accessible  to  most  collectors,  no  prints  therein  illus¬ 
trated  are  again  reproduced  in  this  catalogue.  When  the 
catalogue  states  that  a  print  is  reproduced  in  some  other  cata¬ 
logue  or  book,  the  meaning  is  that  it  is  the  identical  sheet  which 
appears  there,  and  not  merely  another  copy.  For  the  sake  of 
brevity,  the  phrase  “V.  I.  Iv.  Paris  Catalogue,”  is  used  herein 
to  designate  the  monumental  catalogue  in  five  volumes  of  the 
Exhibitions  at  the  Musee  des  Arts  Decoratifs  in  Paris,  written 
by  M.  Charles  Yignier  with  the  assistance  of  M.  Inada,  and 
prefaced  by  M.  Raymond  Ivoechlin.  In  preparing  the  present 
catalogue,  the  writer  has  been  greatly  assisted  by  the  friendly 
co-operation  of  Mr.  Judson  D.  Metzgar;  and  also  by  the  advice 
of  Mr.  Frederick  W.  Gookin  in  many  matters,  especially  those 
relating  to  the  history  of  the  Japanese  stage. 

It  only  remains  to  add  that,  in  spite  of  the  customary 
formal  disclaimer  of  responsibility  that  is  printed  under  “Con¬ 
ditions  of  Sale”  herein,  the  owner  unqualifiedly  guarantees  the 
genuineness  of  every  print  in  this  sale;  and  he  definitely  agrees 
that  he  will,  at  any  time  during  his  life,  repurchase,  at  the  full 
price  paid,  any  print  which  our  growing  information  on  the 
subject  may  show  to  be  fraudulent. 


Arthur  Davison  Ficke. 


CONDITIONS  OF  SALE 


1.  Any  bid  which  is  merely  a  nominal  or  fractional 
advance  may  be  rejected  by  the  auctioneer  if,  in  his  judgment, 
such  bid  wTould  be  likely  to  affect  the  sale  injuriously. 

2.  The  highest  bidder  shall  be  the  buyer,  and  if  any 
dispute  arise  between  two  or  more  bidders,  the  auctioneer  shall 
either  decide  the  same  or  put  up  for  re-sale  the  lot  so  in  dispute. 

3.  Payment  shall  be  made  of  all  or  such  part  of  the  pur¬ 
chase  money  as  may  be  required,  and  the  names  and  addresses 
of  the  purchasers  shall  be  given  immediately  on  the  sale  of 
every  lot,  in  default  of  which  the  lot  so  purchased  shall  be 
immediately  put  up  again  and  re-sold 

Payment  of  that  part  of  the  purchase  money  not  made 
at  the  time  of  sale,  shall  be  made  within  ten  days  thereafter, 
in  default  of  which  the  undersigned  may  either  continue  to  hold 
the  lots  at  the  risk  of  the  purchaser  and  take  such  action  as 
may  be  necessary  for  the  enforcement  of  the  sale,  or  may  at 
public  or  private  sale,  and  without  other  than  this  notice,  re-sell 
the  lots  for  the  benefit  of  such  purchaser,  and  the  deficiency  (if 
any)  arising  from  such  re-sale  shall  be  a  charge  against  such 
purchaser. 

4.  Delivery  of  any  purchase  will  be  made  only  upon 
payment  of  the  total  amount  due  for  all  purchases  at  the  sale. 

Deliveries  will  be  made  on  sales  days  between  the  hours  of 
9  A.  M.  and  1  P.  M.,  and  on  other  days — except  holidays — - 
between  the  hours  of  9  A.  M.  and  5  P.  M. 

Delivery  of  any  purchase  will  be  made  only  at  the  American 
Art  Galleries,  or  other  place  of  sale,  as  the  case  may  be,  and 
only  on  presenting  the  bill  of  purchase. 

Delivery  may  be  made,  at  the  discretion  of  the  Association, 
of  any  purchase  during  the  session  of  the  sale  at  which  it  is  sold. 

5.  Shipping,  boxing  or  wrapping  of  purchases  is  a  busi¬ 
ness  in  which  the  Association  is  in  no  wise  engaged,  and  will  not 
be  performed  by  the  Association  for  purchasers.  The  Asso¬ 
ciation  will,  however,  afford  to  purchasers  every  facility  for 


employing  at  current  and  reasonable  rates  carriers  and  packers ; 
doing  so,  however,  without  any  assumption  of  responsibility  on 
its  part  for  the  acts  and  charges  of  the  parties  engaged  for 
such  service. 

6.  Storage  of  any  purchase  shall  be  at  the  sole  risk  of 
the  purchaser.  Title  passes  upon  the  fall  of  the  hammer,  and 
thereafter,  while  the  Association  will  exercise  due  caution  in 
caring  for  and  delivering  such  purchase,  it  will  not  hold  itself 
responsible  if  such  purchase  be  lost,  stolen,  damaged  or  des¬ 
troyed. 

Storage  charges  will  be  made  upon  all  purchases  not 
removed  within  ten  days  from  the  date  of  the  sale  thereof. 

7.  Guarantee  is  not  made  either  by  the  owner  or  the 
Association  of  the  correctness  of  the  description,  genuineness 
or  authenticity  of  any  lot,  and  no  sale  will  be  set  aside  on 
account  of  any  incorrectness,  error  of  cataloguing,  or  any 
imperfection  not  noted.  Every  lot  is  on  public  exhibition  one 
or  more  days  prior  to  its  sale,  after  which  it  is  sold  “as  is”  and 
without  recourse. 

The  Association  exercises  great  care  to  catalogue  every 
lot  correctly,  and  will  give  consideration  to  the  opinion  of  any 
trustworthy  expert  to  the  effect  that  any  lot  has  been  incor¬ 
rectly  catalogued,  and,  in  its  judgment,  may  either  sell  the  lot 
as  catalogued  or  make  mention  of  the  opinion  of  such  expert, 
who  thereby  would  become  responsible  for  such  damage  as  might 
result  were  his  opinion  without  proper  foundation. 


AMERICAN  ART  ASSOCIATION, 

American  Art  Galleries, 
Madison  Square  South, 

New  York  City. 


CATALOGUE 


FIRST  AFTERNOON’S  SALE 


TUESDAY,  FEBRUARY  10,  1920 
AT  THE  AMERICAN  ART  GALLERIES 
BEGINNING  AT  2:30  O’CLOCK 


Catalogue  Nos.  1  to  195,  inclusive 


BUDDHIST  SCHOOL 

1 — Portrait  of  a  Buddhist  Priest 

He  sits  on  a  ceremonial  chair,  a  keen-eyed  solemn  figure 
with  the  majesty  of  flowing  robes  about  him.  A  har¬ 
mony  in  brown. 

A  'painting  on  paper,  size  33x15;  mounted  on  a  kakemono,  size 
60x20.  Barkened  by  time,  which  has  added  also  a  certain  mys¬ 
tery.  Unsigned. 


2 — The  Disciples  of  the  Buddha 

The  Sixteen  Rakan,  or  Disciples  of  the  Buddha,  depicted 
in  the  most  various  attitudes  of  devotion,  meditation,  or 
activity.  The  scene  is  a  strange  and  mythical  landscape 
of  mountains  and  falling  waters;  one’s  mind  goes  back  at 
once  to  the  landscape  background  of  Leonardo’s  Mona 
Lisa.  High  over  all,  in  the  center,  the  Buddha  himself, 
crowned  with  a  halo,  sits  lost  in  endless  meditation. 

A  painting  in  soft  colors,  on  paper,  size  56x25;  mounted  on  a 
silk  kakemono,  size  90x30.  In  perfect  condition.  Unsigned. 


First  Afternoon 


Early  Ukioye 


UNKNOWN  UKIOYE  PAINTER 

c.  1650-1700 


3 — Woman  in  Blue 

She  stands  hesitant, 
while  her  pale  blue 
robe  droops  in  a  cas¬ 
cade  about  her, — a 
graceful  and  imposing 
figure.  The  work  of 
an  unidentified  Early 
Ukioye  painter  of 
about  the  Genroku 
Period. 

A  'painting  on  paper, 
size  33x12;  mounted  on 
an  extremely  remark¬ 
able  embroidered  silk 
kakemono,  size  66x17, 
that  is  contemporane¬ 
ous  with  the  painting 
itself. 


1 — Woman  in  Black 
The  figure  stands 
poised;  around  her 
sweep  the  great  black 
folds  of  the  drapery, 
decorated  with  large 
circles  of  floral  pat¬ 
terns.  Same  period 
as  the  preceding. 

A  painting  on  paper, 
size  28x11;  mounted  on 
an  extremely  fine  bro¬ 
caded  kakemono,  size 
65x16,  that  is  contemp¬ 
oraneous  with  the  paint¬ 
ing  itself. 


kj  0 


s 


Early  Ukioye 


First  Afternoon 


UNKNOWN  UKIOYE  PAINTER 

c.  1650-1700 


5 — The  White  Robe 

An  actor  in  the  role 
of  a  woman  poises  in  a 
strange,  swaying  posture. 
Her  white  robe,  decorated 
with  clouds  and  human 
figures  and  birds,  and  her 
rainbow  sash  and  red- 
lined  sleeves,  revive  all  the 
elegance  and  luxury  of 
the  Genroku  Epoch.  The 
drawing  is  of  an  admir¬ 
able  precision. 

A  fainting  on  paper,  size 
26x9;  finely  mounted  on  a 
rich  gold  and  silk  brocade 
kakemono,  size  63x.ll, with 
ivory  rollers.  In  very  fine 
condition  Unsigned. 


First  Afternoon 


Moronobu 


MORONOBU 

Worked  c.  1660-1700 


6 — The  Woman  in  White 

A  woman  in  silvery  white  robes  reclines  on  the  matting ; 
a  young  girl  in  brilliant  red  is  reading  to  her.  Moro- 
nobu’s  vitality  and  decorative  sense  speak  in  every  line  of 
this  precise  and  masterful  work. 

A  'painting  on  silk,  size  14x25;  mounted  on  a  richly  brocaded  silk 
and  gold  kakemono,  size  52x30;  with  gold  lacquer  rollers.  Signed. 
In  very  fine  condition. 


7 — Two  Lovers  Among  Flowers 

At  the  edge  of  a  little  tangle  of  wildflowers,  a  young 
samurai  and  a  girl  are  seated  on  the  ground.  He  is 
embracing  her  with  passion ;  she  shrinks  half-shyly  into 
his  arms.  In  the  background  a  stream  is  suggested ;  to 
the  right  is  a  large  rock,  against  which  the  young  man’s 
sword  is  leaned.  A  decorative  black  border  surrounds 
the  picture. 

*The  print  is  reproduced  in  “Asia”  for  July,  1919; 
and  also  in  “Chats  on  Japanese  Prints,”  Plate  1,  where 
it  is  thus  described. — “This  print  exhibits  Moronobu’s 
characteristic  simplicity  of  sweeping  line,  the  masterly 
use  he  makes  of  black  and  white  contrasts,  and  the  vivid 
force  of  his  renderings  of  movement.  The  firm  lines  live ; 
the  composition  is  grouped  to  form  a  harmonious  picture; 
a  dominating  sense  of  form  has  entered  to  transform  the 

chaotic  raggedness  of  his  predecessors’  attempts . 

The  first  great  landmark  in  Japanese  print  history.” 

Size  9xl3y2.  Unsigned.  Printed  in  black  and  white  only.  Very 
fine  impression  and  condition. 


No.  6— MORONOBU.  THE  WOMAN  IN  WHITE 


First  Afternoon 


Moroshige 


MOROSHIGE 

c.  1650-1700 

8 — A  Samurai  and 
His  Servant 

A  young  Samurai 
in  orange  robes 
moves  elegantly 
along,  a  c  c  o  m- 
panied  by  a  gross 
gesticulating  ser¬ 
vant.  This  type 
of  painting, 
executed  at  the 
time  when  the 
earliest  prints 
were  just  coming 
into  existence,  is 
a  n  interesting 
link.  A  glance 
shows  how  easy 
was  the  transition 
that  actually  oc¬ 
curred,  when  the 
artist  began  to 
print  the  outlines  instead  of  painting  them  and  then  filled 

in  the  colors  by  hand. 

A  painting  on  paper,  size  17x8.  Unsigned. 

9 — The  Green  Cape 

A  Samurai  in  a  beautiful  malachite-green  cape  passes 
toward  the  left.  His  sidling  movement  is  vividly  and 

half-humorously  depicted. 

A  painting  on  paper,  size  17x12. 

10 —  The  Red  Robe 

A  woman  in  a  flowered  red  robe  moves  toward  the  left. 

A  painting  on  paper,  size  15x6. 

11 —  The  Grey  Robe 

A  woman,  in  a  pale  grey  robe  touched  with  lapis-lazuli- 
blue,  malachite-green,  and  intense  red,  stands  in  medita¬ 
tion. 

A  painting  on  paper,  size  16x7. 


SUKENOBU 


First  Afternoon 


SUKENOBU 

1674-1754 

12 —  Girl  Arranging  Her 
Hair 

The  young  figure 
kneels,  with  falling 
robes,  before  a  round 
mirror;  her  raised 
hands  are  busy  with  the 
intricacies  of  her  elabo¬ 
rate  coiffure.  The  nude 
torso  is  drawn  with  ex¬ 
ceptional  charm. 

Size  9^x6;  from  an  al¬ 
bum.  A  fine  impression,  in 
fine  condition.  Unsigned. 

13 —  Girl  in  Vine-Leaf 
Robe 

The  quiet,  youthful  fig¬ 
ure,  in  a  robe  touched  with  pale  green  and  orange,  moves 
slowly  toward  the  left. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate 
2;  and  thus  described:  “Nothing  could  exceed  the  deli¬ 
cate  harmony  of  line  in  such  a  design  as  this ;  the  wil- 
lowiness  of  the  young  body,  the  naive  innocence  of  the 
head,  and  the  movement  and  rhythm  of  the  flowing  gar¬ 
ments,  are  admirably  depicted.” 

Size  9y2x6.  Unsigned.  An  album-sheet,  printed  in  black  and 
white  only,  and  colored  by  hand.  A  fine  impression,  in  good 
condition. 


14 —  Girl  in  Vine-Leaf  Robe 

Same  as  the  preceding  number,  except  that  it  is  uncol¬ 
ored. 

15 —  Girl  With  a  Hood 

The  richly  robed  figure  moves  toward  the  right,  lifting 
with  her  left  hand  the  edge  of  a  hooded  cape  that  shades 
her  eyes. 

Same  as  the  preceding  number  in  other  respects. 


First  Afternoon 


Sukenobu 


16 — Girl  Tossing  Ball 

Clad  in  pale,  flowing  robes,  she  is  gently  tossing  up  a 
ball  with  her  right  hand ;  the  other  hand  is  concealed  in 
her  long  sleeve. 

Same  as  the  preceding  number. 


17 — Girl  Reading  Letter 

She  kneels,  holding  up  a  long  rolled  letter ;  beside  her 
is  a  writing-box  with  ink-tablet  and  brush. 

Same  as  the  preceding  number. 


18 —  Girl  in  Black  Robe 

Clad  in  a  black  brocaded  robe  of  extreme  richness,  she 
moves  toward  the  right ;  at  her  feet  are  a  few  petals  of 
fallen  cherry-blossoms. 

Same  as  the  preceding  number. 

19 —  The  Promenade 

A  girl  in  pale  robes,  with  black  wooden  sandals  on  her 
feet,  moves  slowly  to  the  right ;  her  hands  are  hidden  in 
the  long  folds  of  her  garments. 

Same  as  the  preceding  number. 


20 — Battledore  and  Shuttlecock 

A  girl  in  pale,  flowing  robes  stands  examining  these  two 
playthings. 

Same  as  the  preceding  number. 


21 — The  Little  Attendant 

A  very  young  girl  is  following  a  richly-robed  older  girl ; 
they  move  toward  the  right,  looking  backward. 

Same  as  the  preceding  number. 


Moroyasu 


First  Afternoon 


MOROYASU 

Worked  c.  1700 

22 — The  Fan  Vendor 

A  slender  youth,  in  translucent  robes 
of  blue,  is  carrying  on  his  left  shoul¬ 
der  two  large  fan-boxes  of  black  lac¬ 
quer.  In  his  right  hand  he  holds  an 
open  fan. 

A  painting  on  paper  of  pillar-print  size, 
bg  a  rare  pupil  of  Moronobu.  The 
transparency  of  the  robe  is  executed 
with  much  delicacy,  hi  perfect  condition. 


KWAIGETSUDO  NORISHIGE 

Worked  c.  1705 

23 —  The  Iris  Robe 

A  woman  in  flowing  robes  decorated 
with  circles  of  irises  stands  with  her 
lifted  right  hand  concealed  in  her 
long  sleeve. 

One  of  six  reprints  produced  as 
stated  in  the  following  certificate  at¬ 
tached  to  the  back  of  the  print. — 
“Print  made  from  a  genuine  old 
block  engraved  not  later  than  1705, 
on  paper  of  the  same  period,  with 
ink  over  300  years  old.  Tokyo,  Oc¬ 
tober,  1916.  Printer:  S.  Watanabe. 
(Signed  and  sealed.)  Certified  as  a 
true  statement:  J.  S.  Happer. 
(Signed  and  sealed.)” 

Size  23x11.  Printed  in  black  only. 

24 —  The  Robe  of  the  Basket  Hat 

A  woman  in  a  robe  decorated  with 

large  designs  of  a  basket  hat  stands 

holding  her  girdle  with  her  left  hand. 

Size  23x11.  A  modern  reproduction  by 
Kobayashi. 


Firvt  Afternoon 


Kwaigetsudo 


25 — The  Robe  of  the  Plum  Blossoms 

A  courtesan  in  flowing  robes  of  the  most  elaborate  splen¬ 
dor  moves  toward  the  left,  waving  her  sleeve  to  someone 
behind  her.  The  lines  of  her  garments  and  of  her  poised 
head  are  drawn  with  that  impressive  force,  precision,  and 
daring  so  characteristic  of  this  artist.  The  colors,  ap¬ 
plied  in  great,  simple  masses,  play  kaleidoscopically  up 
and  down  the  robes,  and  are  held  in  check,  as  it  were,  by 
the  iron  strength  of  the  heavy  black  boundary-lines. 

“The  Kwaigetsudo  work  is  perhaps  the  most  power¬ 
ful  and  imposing  in  the  whole  range  of  Ukioye.  The 
sheets,  of  large  size,  generally  represent  the  single  fig¬ 
ure  of  a  standing  woman  clad  in  flowing  robes.  So  much 
for  the  theme;  it  is  nothing.  But  the  treatment  con¬ 
sists  of  a  storm  of  brush-strokes  whose  power  of  move¬ 
ment  is  like  that  of  writhing  natural  forces ;  out  of  this 
seething  whirl  of  lines  is  built  up  the  structure  of  the 
monumental  figure.” — Chats  on  Japanese  Prints. 

The  authenticity  and  importance  of  this  painting  has 
been  repeatedly  attested  by  the  best  Japanese  and  for¬ 
eign  expert  opinion.  It  is  reproduced  in  the  Catalogue 
of  the  Second  Loan  Exhibition  of  the  Kyoto  Yamatoye 
Kiokai,  (Kyoto  Art  Lovers’  Association),  held  at  the 
Kyoto  Public  Library  in  December,  1911. 

A  painting  on  silk,  size  37x16;  mounted  on  a  kakemono  of  bro¬ 
cade,  size  75x22;  with  ivory  rollers.  In  perfect  condition. 


THE  FIRST  KIYONOBU 

1664-1729 

26 — A  Courtesan 

In  the  elaborate  robes  of  the  epoch,  she  moves  toward 
the  right,  attended  by  a  young  girl. 


A  painting  on  paper,  size  18x10;  mounted  on  a  rich  silk  kake¬ 
mono,  size  40x13;  with  ivory  rollers.  Unsigned.  Rather  poor 
condition. 


No.  25— KWAIGETSUDO.  ROBE  OF  PLUM  BLOSSOMS 


First  Afternoon 


Kiyonobu  I 


t7 

27 — The  Princess  and  The  Kitten 

Under  a  branch  of  willow,  a  court  lady  of  old  time,  in 
flowing  robes  alight  with  rich  touches  of  color,  is  leading 
a  spotted  kitten  by  means  of  a  cord.  Her  garments  are 
a  riot  of  splendid  patterns  as  she  sweeps  along. 

The  picture  represents  the  actor  Kamimura  Kichisa- 
buro  in  the  famous  role  of  Josan  no  Miya,  a  court  lady 
of  olden  time,  who  is  traditionally  represented  as  play¬ 
ing  with  a  white  kitten. 

This  masterful  design  appears  to  have  been  given 
much  consideration  by  Kiyonobu.  In  the  Buckingham 
Collection,  Chicago,  is  another  copy  of  it  from  some¬ 
what  different  blocks,  in  which  the  willow  is  placed  much 
closer  to  the  head  of  the  lady.  This  was  undoubtedly 
the  original  form.  But  it  apparently  did  not  please 
Kiyonobu  entirely;  for,  when  opportunity  was  offered 
by  the  demand  for  a  new  edition,  he  altered  this  portion 
of  the  picture,  raising  the  willow-branch  and  the  deco¬ 
rative  crest  about  an  inch  and  a  half,  and  moving  them 
farther  to  the  right, — thereby  adding  incalculably  to 
the  spaciousness,  balance,  and  dignity  of  the  composi¬ 
tion.  See,  for  the  first  form,  Plate  18  in  Gookin’s  Buck- 
ingham-Chicago  Art  Institute  Catalogue,  1915. 

A  very  larye  panel ,  size  24x12;  colored  by  hand  with  orange, 
white  and  yellow,  finely  oxidized.  Time  has  browned  the  paper 
and  softened  what  were  originally  harsh  colors  into  their  present 
glowing  harmony. 


No.  27— KIYONOBU  I.  PRINCESS  AND  KITTEN 


First  Afternoon 


Kiyomasu 


KIYOMASU 

Worked  c.  1700-1750 

28 — Eagle  Attacking  a 
Flying  Heron 
The  ferocious  black 
bird  of  prey  is 
swooping  down  in  a 
great  rush  to  seize 
the  fleeing  heron. 
The  print  is  an  ex¬ 
traordinary  expres¬ 
sion  of  the  same  pas¬ 
sion  for  the  dark  and 
cruel  elements  of  life 
that  appears  in  the 
actor  and  warrior 
portraits  of  this  pe¬ 
riod. 

The  design  was 
evidently  a  favorite 
with  Kiyomasu,  for 
he  repeated  it,  with 
minor  changes,  in 
larger  form,  as  illus¬ 
trated  in  the  V.  I.  K. 
Paris  Catalogue, 
“Primitives,”  Plate 
21.  The  smaller  size, 
however,  seems  the  more  powerful  design. 

Size  12x6.  A  lacquer-print,  colored  very  finely  by  hand  with 
oranye,  red,  yellow,  grey,  and  black.  In  excellent  condition. 


29 — Woman  With  Long  Sword 

The  actor  Morita  Kanya,  in  the  role  of  a  woman,  is 
lifting  his  left  hand  in  a  magnificent  sweeping  gesture, 
and  looking  backward  over  his  right  shoulder.  He 
wears  two  swords,  one  an  extremely  long  one.  The 
folds  of  the  robes  are  drawn  with  that  monumental  sim¬ 
plicity  and  splendor  which  passed  away  with  the  passing 
of  the  Primitives. 

Size  liy2x5.  A  lacquer-print,  colored  by  hand  with  salmon,  yel¬ 
low,  violet,  green,  and  gold.  Fine  impression;  fair  condition. 


Kiyomasu 


First  Afternoon 


30 — The  Tea  House  Ver¬ 
anda 

A  woman  lifting  a  cup 
of  tea  is  seated  on  the 
edge  of  the  veranda; 
beside  her  kneels  a  sa¬ 
murai  who  is  smoking 
and  talking  to  her. 

This  extremely  inter¬ 
esting  print  is  a  Dai- 
Sho  Calendar,  showing 
the  short  and  long 
months  for  the  Dragon 
Year,  1724.  With  ex¬ 
traordinarily  skillful  ca- 
ligraphy,  Kiyomasu  has 
made  his  brush-strokes 
serve  both  as  contours 
and  as  numerals.  On 
the  man’s  garments  are 
the  numerals  1,  4,  6,  8, 
10,  and  12,  being  the 
long  months ;  on  the 
woman’s  garments  are 
2,  3,  5,  7,  9,  and  11,  for 
the  short  ones. 

Size  13x6i/2.  Extremely  fine  impression  and  condition. 

31 — Samurai  With  Fan 

A  scene  from  the  theatre.  The  actor  Arashi  Sangoro  I, 
kneeling  in  robes  of  rich  orange  and  yellow,  holds  up  a 
closed  fan.  Behind  him  stands  the  actor  Tsugawa  Ka- 
mon,  as  a  woman,  in  robes  of  black,  orange,  and  yellow. 
A  peculiar  composition,  of  admirable  solidity  and  mas¬ 
siveness  ;  thoroughly  characteristic  of  this  artist’s  digni¬ 
fied  grace.  Sangoro  played  in  Yedo  only  from  1727  to 
1729,  so  the  print  may  be  dated  within  those  three  years. 

Size  12x6.  A  lacquer-print,  colored  by  hand  with  orange,  yellow, 
and  black.  An  excellent  impression,  in  beautiful  condition  in 
spite  of  somewhat  brown  paper. 


First  Afternoon 


Kiyomasu 


32 — Lady  in  White 

Tall,  slender,  silvery,  bearing  herself  like  a  princess,  she 
moves  slowly  toward  the  right. 

A  painting  on  paper,  size  35x14;  mounted  on  a  kakemono,  size 
(>5x15.  In  perfect  condition.  Unsigned. 


33 — Woman  Beside  Green  Fence 

The  actor  Onoye  Kikugoro,  in  the  role  of  a  hooded 
woman  in  robes  of  black,  green,  and  pink,  stands  beside 
a  green  fence,  close  to  a  small  blossoming  cherry  tree. 
The  pale,  transparent  colors  are  in  charming  contrast 
to  the  black  of  the  robe. 

Size  12y2x6.  A  beni-ye  print,  in  black,  green,  and  pink.  Excel¬ 
lent  impression  and  condition.  Formerly  in  the  Wakai  Collection. 


34* — Samurai  Before  a  Gate 

The  actor  Sanokaw^a  Icl  imatsu  as  a  samurai,  in  volumi¬ 
nous  robes,  stands  holding  a  closed  fan.  He  is  looking 
over  his  shoulder  at  the  closed  gate  of  a  garden.  A 
willow  rises  in  the  background. 

Size  llxl5y2.  A  beni-ye  print,  in  black,  rose,  and  green.  Good 
impression  and  condition. 


No.  32— KIYOMASU.  LADY  IN  WHITE 


First  Afternoon 


Kiyonobtj  II 


THE  SECOND  KIYONOBU 

Worked  c.  1740-1756 

35 — The  Poem  on  the  Beach  at  Suma 

Against  a  background  of  ocean,  hills,  and  pine-trees 
stand  three  actors,  two  of  them  in  the  roles  of  women. 
On  the  left,  one  of  the  women  holds  out  a  writing-tray 
to  the  man ;  he,  poising  in  the  center,  is  about  to  dip  his 
brush  into  the  ink,  while  he  extends  his  left  hand  to  re¬ 
ceive  a  strip  of  decorated  paper  from  the  second  woman. 
The  slow,  graceful  gestures  of  the  three,  the  delicately 
suggested  landscape,  and  the  harmonious,  rhythmic  rela¬ 
tion  of  the  figures,  entitle  this  design  to  a  high  place 
among  the  known  works  of  this  artist. 

Rarely  in  prints  of  this  period  do  we  find  such  effec¬ 
tive  use  made  of  the  black.  It  is  also  somewhat  rare  to 
find  a  triptych  conceived  so  definitely  as  one  unified 
picture. 

The  scene  represented  is  from  a  play  based  on  the 
story  of  Yukihira,  one  of  the  episodes  of  that  ancient 
and  famous  romance,  the  Ise  Monogatari.  Yukihira,  a 
great  noble,  during  the  period  of  his  exile  from  the  cap¬ 
ital,  sojourned  in  the  little  fishing  village  of  Suma. 
There  he  encountered  two  young  girls  of  rare  beauty, 
whose  daily  task  it  was  to  bring  up  water  out  of  the  sea 
for  the  making  of  salt.  His  heart  was  lost  to  them  both, 
and  he  became  their  lover,  giving  to  one  the  poetic  name 
of  Murasame,  meaning  “Little  Shower  Tranquilly  Fall¬ 
ing  Over  an  Old  Village  Long  Ago,”  and  to  the  other 
the  name  of  Matsukaze,  meaning  “Whisper  of  the  Wind 
Through  the  Needles  of  the  Pines.”  But  the  idyl  at 
last  had  its  end;  Yukihira’s  period  of  exile  was  termi¬ 
nated,  and  he  was  obliged  to  return  to  resume  the  nor¬ 
mal  life  of  his  high  station,  leaving  behind  him  a  lifelong 
memory  that  was  the  treasure  of  Murasame  and  Matsu¬ 
kaze.  Perhaps  it  is  his  farewell  poem  which,  in  this  pic¬ 
ture,  he  is  about  to  write  on  the  flowered  paper  that 
Murasame  holds  out  to  him. 

It  is  the  famous  actor  Segawa  Kikunojo  I  who  takes 
the  part  of  the  woman  on  the  left ;  Onoye  Kikugoro  I  is 
on  the  right;  and  the  actor  Nakamura  Shichisaburo  II 


No.  35— KIYONOBU  II.  BEACH  AT  SUMA 


Kiyonobu  II 


First  Afternoon 


is  the  man.  These  actors  were  members  of  the  same 
company  for  only  about  a  month,  at  the  end  of  1747 
and  beginning  of  1748;  after  which,  Kikunojo  had  to 
leave  the  stage  because  of  illness  and  died  in  the  autumn 
of  1749.  The  performance  depicted  is  probably  the 
shosa  “Fuji-ga-e,”  at  the  Nakamura  Theatre,  February, 
1748. 

Size  1 1  i/2x18.  A  beni-ye  triptych,  in  yreen,  black  and  rose.  The 
middle  and  the  right-hand  sheet  have  never  been  divided;  and 
the  left  sheet  joins  perfectly.  An  extremely  fine  impression  in 
beautiful  condition.  Formerly  in  the  Appleton  Collection ;  re¬ 
produced  in  the  Appleton  Catalogue,  London,  1910,  Plate  5. 


OKUMURA  MASANOBU 

c.  1685-1768 


36 — Youth  Under  Umbrella 
The  actor  Ichikawa  Mon- 
nosuke  I,  in  the  role  of  a 
young  man  carrying  an 
open  umbrella.  His  long, 
intensely  black  robe  sweeps 
in  great  folds;  it  is  deco¬ 
rated  with  an  elaborate 
arabesque  pattern  sharply 
embossed  on  the  black. 
The  poise  and  dignity  of 
the  figure  are  notable. 

Size  13x6.  A  lacquer- 
print,  colored  by  hand. 
Very  fine  impression;  as 
to  condition,  very  broton, 
but  this  design  is  so 
strong  that  it  suffers  lit¬ 
tle  from  a  change  that 
would  have  ruined  many 
other  prints.  Formerly 
in  the  La  thro p  Collection, 
New  York. 


Masanobu 


First  Afternoon 


37 —  The  Handkerchief 

A  woman  stands  with  intertwined  fingers,  a  handkerchief 
falling  across  her  wrists.  Her  long  sleeves,  decorated 
with  elaborate  brocades,  droop  in  great  rhythmic  folds. 

This  is  a  representation  of  Yaoya  Oshichi,  a  legend¬ 
ary  popular  heroine  who  acquired  her  fame  by  a  curi¬ 
ous  exploit.  When  her  father’s  house  was  destroyed  by 
fire,  she  was  sent  to  a  near-by  temple  until  the  house 
could  be  rebuilt.  There  she  fell  in  love  with  a  young 
page,  Kichisaburo.  When  at  last  she  was  sent  back  to 
her  father’s  house,  she  proceeded  to  set  it  on  fire  again, 
in  the  hope  of  being  returned  to  the  temple  and  to  her 
lover.  The  fire  spread  to  half  of  Yedo;  the  girl’s  guilt 
was  discovered ;  and  she  was  put  to  death. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  5, 
with  the  following  remarks:  “About  1720,  Masanobu 
began  to  do  work  in  a  medium  which  he  is  said  to  have 
invented, — the  urushi-ye,  or  lacquer-prints,  in  which  the 
lacquer  gives  a  new  richness  and  luminosity  to  the  vari¬ 
ous  colors.  An  example  of  these  appears  in  this  picture.” 

Size  13 V2x6.  A  lacquer-print,  colored  by  hand  with  oranye,  pale 
blue,  yold,  and  black.  Extremely  fine  impression  and  condition. 

38 —  Courtesans  at  Their  Toilet 

Four  women  in  gorgeously  brocaded  costumes  of  the 
period  are  completing  the  last  touches  of  their  robing; 
a  male  servant  kneels  before  one,  w7ho,  with  her  girl 
attendant,  is  about  to  depart. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  4. 

Size  10x15.  Unsigned.  Printed  in  black  and  white.  Very  fine 
impression  and  condition. 

39 —  The  Samisen 

A  woman,  clad  in  flowing  robes  of  great  richness,  is 
seated  on  a  bench  touching  a  samisen.  On  the  bench 
with  her  sit  a  man  and  a  woman.  To  the  left,  a  girl  is 
being  embraced  from  behind  by  a  young  man. 

Size  10x14.  Unsigned.  Printed  in  black  and  white  only.  Very 
fine  impression  and  condition. 


First  Afternoon 


Masanobu 


40 — The  Diversions  of  a  Young  Man 

In  a  spacious  interior  opening  onto  a  garden,  a  young 
man  stands  at  his  ease.  On  one  side  of  him  sits  a  beau¬ 
tifully  robed  geisha  touching  the  samisen  ;  on  the  other 
side  sits  an  elegant  courtesan  looking  at  a  letter.  At 
the  back  of  the  room  three  kakemono  hang,  representing 
th  ree  of  the  famous  Six  Poets.  The  picture  is  pervaded 
by  that  warmth  and  graciousness  of  feeling  so  charac¬ 
teristic  of  Masanobu ;  the  three  principal  figures  are 
drawn  in  his  finest  manner. 

A  lacquer-print,  colored  by  hand  with  blue,  brown,  orange,  yel¬ 
low,  and  grey.  Size  16x11  %•  A  fine  impression,  colored  with 
exceptional  care ;  in  very  fine  condition. 


41 — Youth  With  Basket  Hat 

A  young  actor,  in  simple  robes,  moves  toward  the  right, 
placing  a  large  basket  hat  on  his  head. 

A  painting  on  paper ,  size  13x6.  Fine  condition. 


-<  A~— 


Masanobu 


First  Afternoon 


No.  40— MASANOBU.  DIVERSIONS  OF  A  YOUNG  MAN 


First  Afternoon 


Masanobu 


42 —  Nobleman  Under  a  Pine  and  Plum  Tree 

The  great  ninth-century  statesman  and  humanist,  Suga- 
wara  no  Michizane,  seated  in  dignified  state  under  the 
mingled  branches  of  a  pine  and  a  plum. 

Louis  Aubert  in  “Les  Maitres  de  l’Estampe  Japon- 
aise”  writes  of  this  design  :  “Une  estampe  de  Masanobu 
represente  Sugawara  no  Michizane.  Exile,  a  la  suite 
d’intrigues  de  Cour,  bien  qu’il  fut  favori  de  l’Empereur, 
il  dut  quitter  Kyoto  au  temps  de  la  floraison  des  prun- 
iers.  C’etaient  les  fleurs  favorites  de  son  jardin,  oil 
se  dressait  un  pavilion  du  prunier  rose.  Sa  poesie 
d’adieux  a  ses  fleurs,  tout  Japonais,  aujourd’hui  encore, 
la  connait  par  coeur: 

Sous  la  brise  de  l’Est, 

Brillez  de  tout  votre  eclat. 

O  fleurs  de  prunier ; 

Bien  que  n’ayant  plus  de  maitre, 

N’oubliez  pas  le  printemps. 

.  .  Et  comme  dans  la  poesie  Japonaise  le  prunier 

est  toujours  associe  au  pin,  la  legende  joignit  un  vieux 
pin  au  prunier  fidele,  et  tous  deux  symboliserent  les 
esprits  des  serviteurs  qui  n’avaient  pas  abandonne  leur 
maitre.” 

Another  copy  of  this  print  is  reproduced  in  the  V.  T. 
K.  Paris  Catalogue,  “Primitives,”  Plate  35;  and  another 
in  the  Metzgar  Catalogue,  1916,  Plate  9. 

A  very  large  panel,  size  26x10.  A  lacquer-print,  colored  by 
hand.  Very  fine  impression;  good  condition. 

43 —  The  Veranda  by  the  River 

With  the  Sumida  R  iver  as  a  background,  a  matron  is 
kneeling  and  addressing  a  young  woman,  who  is  deli¬ 
cately  adjusting  a  cape  on  her  shoulders.  The  robes 
sweep  in  the  suave  and  rhythmic  lines  so  characteristic 
of  this  master. 

Size  12x6.  A  beni-ye  print,  in  delicate  yellotvs.  A  fine  impres¬ 
sion  in  fair  condition. 


Shigenaga 


First  Afternoon 


SHIGENAGA 

1697-1756 

44 —  Noble  Standing  Under  Pine 

Sugawara  no  Michizane  (see  No.  42), 
holding  a  branch  of  plum  blossoms  in 
his  hidden  hands,  stands  in  dignified 
meditation  under  a  pine  tree.  His 
elaborate  court  robes  are  drawn  closely 
about  him,  with  an  air  of  aloofness  and 
distinction. 

A  pillar-print,  in  three  colors.  Good  impres¬ 
sion  and  condition. 

45 —  Youth  With  Folded  Fan 

With  the  long  black  sleeves  of  his  bril¬ 
liant  robe  swaying  behind  him,  the 
young  man  moves  slowly  toward  the 
left,  balancing  his  folded  fan  between 
his  fingers. 

^Reproduced  in  “Scribner’s  Maga¬ 
zine”  for  March,  1916,  with  the  follow¬ 
ing  remarks:  “In  this  print  by  Shige¬ 
naga  may  be  seen  such  qualities  of 
rhythmic  composition,  of  sweep  and 
flow  and  sway,  as  were  never  surpassed 
in  later  times.  The  figure  is  simplified 
beyond  all  trace  of  realism ;  it  is  purely 
a  motif  of  movement, — the  shadow  of  a 
dream  of  form  projected  by  the  lumi¬ 
nous  spirit  of  the  artist  against  the  wall 
of  space.” 

Another  copy  is  reproduced  in  the 

Harmsworth  Catalogue,  London,  1913, 

Plate  6 ;  and  another  in  the  Danck- 

werts  Catalogue,  London,  1914,  Plate  I. 

Size  13x6.  A  lacquer-print,  colored  by  hand 
with  red,  yellow,  blue,  gold  and  black.  A 
very  fine  impression,  in  excellent  condition. 


First  Afternoon 


Shigenaga 


46 — The  Letter 

Holding  a  letter  in  her  hand,  a  girl  stands  poised,  with 
the  long,  curving  lines  of  her  robes  sweeping  around  her. 
This  design  exhibits  the  simplicity  and  gracious  dignity 
that  have  made  some  print-lovers  give  to  the  Primi¬ 
tives  the  first  place  in  their  affections. 

Size  12 x/2x6.  A  lacquer-  'print,  colored  by  hand  with  red,  orange, 
black  and  gold.  A  fine  impression,  in  beautiful  condition.  For¬ 
merly  in  the  Lathrop  Collection,  N.  Y. 


Toshinobu 


First  Afternoon 


TOSHINOBU 

Worked  c.  1725-1742 

17— Go  i  n  g  Somewhere  — 
Where  ? 

The  actor  H  ayakaw a 
Shinkatsu,  as  a  girl  with 
a  curiously  interrogative 
expression,  moves  slowly 
toward  the  left,  with  volu¬ 
minous  draperies  swaying 
and  sweeping  around  her 
in  balloon-like  waves  of 
color.  The  impression  of 
movement  in  the  draperies 
is  extraordinary.  Toshin- 
obu  has  always  “some  ele¬ 
ment  of  strangeness  in  his 
beauty”;  he  produced  lit¬ 
tle,  dying  young,  but  it 
was  all  marked  with  a 
highly  personal  impress. 

Size  14x6'.  A  lacquer-print, 
colored  by  hand  with  yel¬ 
low,  orange,  lacquer,  and 
gold  powder.  A  superb  im¬ 
pression,  in  flawless  condi¬ 
tion. 


TOYONOBU 

1711-1785 

48 — The  Football 

Two  noble  youths  in  brocaded  court  robes  stand  looking 
up  at  a  football  that  whirls  in  the  air  above  them.  The 
jewel-like  treatment  of  the  garment-patterns  is  but  one 
element  in  the  serene  total  balance  of  this  little  master¬ 
piece. 

Size  12x6.  A  three-color  print ;  extremely  fine  impression  in 
beautiful  condition. 


First  Afternoon 


Toyonobu 


49 — The  Dance  of  the 
Scarves 

A  young  girl,  in  flying 
robes  of  rose  and  green, 
whirls  in  a  dance,  wav¬ 
ing  two  long  white 
scarves  beside  and  over 
her.  The  scarves  eddy 
and  circle,  repeating  in 
brilliant  rhythm  the 
motif  of  her  delicate 
dancing. 

Toyonobu  produced 
other  more  powerful  de¬ 
signs,  but  few  more 
exquisite. 

Size  liy2x5y2.  A  btmi-ye 
print,  in  black,  rose,  and 
green.  An  excellent  im¬ 
pression  in  good  condi¬ 
tion. 


50 — The  Green  Girdle 

A  woman  in  pale  robes 
is  tying  the  ends  of  her 
girdle;  her  loose  garments  have  fallen  open,  revealing 
the  delicate  body  beneath.  Toyonobu,  perhaps  more 
than  any  other  Ukioye  artist,  devoted  himself  to  the 
drawing  of  the  nude.  These  rare  works  are  among  the 
finest  of  his  productions. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  8. 

A  pillar-print,  in  three  colors.  A  remarkably  fine  impression, 
in  superb  fresh  condition,  very  white. 


Toyonobu 


First  Afternoon 


51 — The  Evening  Promenade 

A  youth  carrying  an  Odawara 
paper  lantern  and  an  open  um¬ 
brella  moves  slowly  toward  the 
right.  His  head  is  bent ;  his 
pale,  soft-colored  robe  falls  in 
long,  straight  folds  to  his  feet. 
That  peculiar  solemnity  and 
dignity  which  was  one  of  Toyo- 
nobu’s  characteristics  domi¬ 
nates  the  picture.  It  is  one  of 
his  most  important  works. 

Another  copy  of  this  print  is 
reproduced  in  the  V.  I.  K.  Paris 
Catalogue,  “Primitives,”  Plate 

49. 

A  very  wide  'pillar-print,  size  31x 
6i/2.  Colored  by  hand  with  light 
shades  of  yellow,  orange,  red,  and 
pale  buff.  An  extremely  fine  im¬ 
pression.  The  condition  of  the 
print  is  as  fresh  as  the  day  it  was 
produced. 


First  Afternoon 


Toyonobu 


52 — The  Chrysanthemum  Obi 

A  tall,  slender  girl,  carrying  a  large, 
open  umbrella,  is  moving  toward  the 
left.  Behind  her  sways  a  huge  chrys¬ 
anthemum-decorated  obi,  like  a  great 
butterfly.  The  varied,  live,  and  imag¬ 
inative  silhouette  of  her  figure  is  one  of 
those  felicitous  triumphs  of  design  that 
give  Toyonobu  his  great  fame  today. 

A  pillar-print,  in  three  colors.  Excellent 
impression  and  condition. 


53 — The  Puppet 

A  girl  is  lifting  a  puppet  high  above 
her  head ;  her  long  sleeves  swirl  grace¬ 
fully  about  her  as  she  moves. 

Size  11x5.  A  two-color  print,  in  preen  and 
rose.  A  fine  impression,  in  fair  condition. 


N  0 

54 — The  Spring  Wind 

A  girl,  in  glowing  robes  swept  back  by 
the  wind,  is  hurrying  toward  the  left. 
A  wind-tossed  willow-bough  repeats  the 
movement  overhead.  The  girl’s  eager 
haste  and  the  rush  of  the  wind  against 
her  are  admirably  suggested.  There 
exists  a  print  by  Toyonobu  in  which 
this  design  is  exactly  repeated. 

A  painting  on  paper,  pillar-print  size.  Un¬ 
signed.  In  very  fine  condition. 


Kiyomitsu 


First  Afternoon 


KIYOMITSU 

1735-1785 

55 — Woman  With  Bamboo 
Branch 

Under  a  willow  tree 
stands  the  actor  Sega- 
wa  Yujiro,  in  the  role 
of  Yaoya  Oshichi  (see 
No.  37).  She  carries 
tranquilly  a  long  stem 
of  leafy  bamboo  across 
her  shoulder.  Her  trail¬ 
ing  robes  sweep  widely 
about  her  feet ;  her  slen¬ 
der  figure  rises  in  calm 
and  stately  curves 
against  a  delicate  back- 
g  round  of  greenish 
grey.  This  play  was 
performed  by  this  actor 
at  the  Ichimura  The¬ 
atre  in  February,  1773. 

Size  llxl5i/2.  A  print  in 
four  colors,  yellow,  rose, 
grey,  and  purple.  An 
extremely  fine  impres¬ 
sion,  in  beautiful  and 
flawless  condition. 

56 — The  Green  Hat 

A  tall  woman  in  flowing  robes  lifts  her  hands  to  place 
a  green  basket-hat  upon  her  head.  The  long  folds  of 
her  sleeves  fall  free  in  a  cascade  of  glowing  patterns. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate 
10,  with  the  following  comments:  “Kiyomitsu  may  be 
regarded  as  one  of  the  half-dozen  greatest  masters  of 
the  pillar-print  shape  of  composition.  Much  of  his  fin¬ 
est  work  was  in  this  form.  Here  his  somewhat  tight 
curves  lengthen  out  into  flowing  beauty ;  and  the  dignity 
always  inherent  in  his  drawing  is  at  its  best.” 

A  pillar-print,  in  three  colors.  Very  fine  impression,  in  superb 
condition. 


First  Afternoon 


Kiyomitsu 


57 — The  Fan  Vendor 

The  actor  Nakamura 
Noshio  I,  in  the  role  of 
a  youthful  vendor  of 
fans,  stands  poised  with 
three  huge  black-lac¬ 
quer  fan-boxes  on  his 
left  shoulder.  His  slim 
figure,  robed  in  pink, 
yellow,  and  purple,  is 
outlined  with  the  sharp¬ 
ness  of  a  silhouette 
against  a  background 
of  faint,  cool  grey. 

Size  12y2x5y2.  A  very 
fine  impression,  in  re¬ 
markable  and  most  beau¬ 
tiful  condition. 


58 — The  Tortoise-Shell  Cat 

A  woman,  in  a  dark  violet  bath-robe  that  reveals  her 
slender  figure,  is  moving  toward  the  right.  Behind  her, 
a  cat  plays  with  her  trailing  robe. 

A  pillar-print,  in  three  colors.  Fine  impression,  in  (jood  condi¬ 
tion. 


Kiyomitsu 


First  Afternoon 


59 —  Woman  Under  Umbrella 

In  a  great  curve  of  sweeping  robe,  a 
woman  moves  toward  the  left.  An  um¬ 
brella  is  held  over  her  head  by  an  invis¬ 
ible  person  behind  her. 

A  pillar-print,  in  three  colors.  An  excep¬ 
tionally  fine  impression,  in  good  condition. 

60 —  The  Legend  of  the  Frog 

The  actor  Ichikawa  Danjuro  IV,  in  the 
role  of  Ono  no  Tofu,  stands  under  a 
willow  at  the  edge  of  a  stream,  watch¬ 
ing  a  frog  that  is  leaping  up  out  of  the 
water  to  snatch  at  the  trailing  branches. 
He  carries  a  large,  open,  orange  um¬ 
brella  ;  his  antique  robes  are  brocaded 
with  orange,  rose,  and  green. 

The  celebrated  ancient  caligrapher, 
Ono  no  Tofu,  had,  in  early  life,  tried 
seven  times,  in  vain,  to  secure  appoint¬ 
ment  to  a  certain  official  position. 
Walking  one  day  by  the  river  in  de¬ 
jected  reflection  over  his  blocked  career, 
he  observed  a  frog  whose  seven-times 
repeated  attempts  to  seize  a  high  wil¬ 
low-branch  were  finally,  on  the  eighth 
attempt,  rewarded  with  success.  There¬ 
upon  Ono  no  Tofu  took  into  his  heart 
the  lesson  of  unflagging  endeavor,  made 
one  more  and  successful  attempt  to 
obtain  the  office,  and  eventually  rose 
to  greatness. 

Since  the  chronicles  of  the  Japanese 
stage  show  that  Danjuro  played  this 
role  at  the  Nakamura  Theatre  in  the 
autum  of  1758,  and  not  again  for 
many  years,  the  print  may  be  accurately 
dated. 

Size  11  y2x5y2.  A  three-color  print,  very 
finely  printed;  in  exceptionally  beautiful 
condition  due  to  the  oxidization  of  the 
orange  pigment. 


First  Afternoon 


Kiyomitsu 


61 — The  Veranda 

Along  a  narrow  yeranda  moves  a 
woman ;  from  her  shoulders  hang  the 
swirling  folds  of  blue-grey  bath-robe 
which,  swept  open  by  the  wind  of  her 
movement,  reveals  her  finely-drawn 
body.  The  drawing  of  the  draperies 
and  the  curious  perverse  grace  of  the 
body  are  equally  facinating. 

“Kiyomitsu’s  rare  nudes  take  a  place 
close  beside  those  of  Toyonobu.  They 
have  a  keen  poetic  charm ;  and  though 
their  vigor  is  less  marked  than  those 
of  Toyonobu,  their  grace  and  elegance 
of  movement  is  at  least  as  striking.” 
— Chats  on  Japanese  Prints. 

A  pillar-print,  in  three  colors.  Very  fine 
impression  and  condition. 


62  The  Bride 

A  young  girl  stands  in  a  shy  meditative 
attitude,  holding  the  end  of  her  long 
striped  sash  in  her  mouth.  Her  robes 
sweep  in  long,  graceful  folds. 

The  poem  at  the  top  of  the  print 
may  be  translated :  “The  plum-tree  may 
blossom  in  the  coldest  season  of  the 
winter,  untying  the  knot  fastened  upon 
it  by  the  snow;  so  the  bride  going  to 
the  couch  of  her  lover.” 

A  pillar-print,  in  three  colors.  Very  fine 
impression;  brown,  but  in  good  condition. 


Kiyomitsu 


First  Afternoon 


63 — Before  the  Bath 

A  nude  girl  is  slipping  a  flowered  bath¬ 
robe  off  her  shoulders.  As  she  thus  steps 
out  of  her  raiment,  she  moves  with  a 
strange  wistful  delicacy  of  attitude  that 
makes  the  picture  extremely  noteworthy. 

*This  print,  formerly  the  property  of 
M.  Charles  Vignier,  is  reproduced  in  the 
V.  I.  K.  Paris  Catalogue,  “Primitives,” 
Plate  55. 

A  pillar-print,  in  two  colors.  A  very  fine  im¬ 
pression;  brown  but  in  strong  and  beautiful 
condition. 


64 — The  Plum-Blossom  Robe 

The  actor  Segawa  Kikunojo  II.  in  the 
role  of  a  graceful  young  courtesan,  who 
stands  in  meditation  while  around  her 
swirls  the  splendor  of  her  gorgeous  blue 
and  rose  garments. 

The  poem  at  the  top  of  the  print  may 
be  translated :  “Her  loveliness  can  know 
no  change;  snow  has  no  power  to  break 
the  supple  boughs  of  the  weeping-cherry 
tree.” 

A  pillar-print,  in  three  colors.  Very  fine  im¬ 
pression;  toned,  but  in  good  condition. 


First  Afternoon 


Kiyomitsu 


£:  u 

V 


ft 


65 — The  Battledore 

The  young  girl  Osome,  portrayed  by 
the  actor  Segawa  Kikunojo  II.,  dashes 
with  flying  red  robes  toward  the  left, 
pursuing  with  her  lifted  battledore  a 
shuttlecock  that  poises  in  the  air  above 
her. 

The  poem  at  the  top  of  the  picture 
may  be  translated :  “Oh  my  first  love, 
that  was  born  at  the  first  sight  of 
Osome !  Oh  maiden  like  a  flower !” 

A  'pillar -'print,  in  three  colors.  A  superb  im¬ 
pression,  in  remarkable  condition ;  the 
orange  pigment  has  become  slightly  oxi¬ 
dized,  with  the  most  felicitious  results. 


66 — Youth  and  Man  at  Arms 

The  actor  Onoye  Tamizo,  as  Otsu-e 
Wakashu,  stands  balancing  a  pile  of 
blocks  on  his  raised  hands.  Behind 
him  the  actor  Ichimura  Ozaemon  IX, 
as  Otsu-e  Musashibo  Benkei,  decked  out 
with  every  conceivable  trapping  and 
implement  of  war,  stands  glowering  at 
him.  A  scene  from  the  mimetic  dance 
“Ataka  no  Matsu,”  performed  at  the 
Ichimura  Theatre,  December,  1769. 

Size  12x6.  A  three-color  print,  in  very  un¬ 
usual  shades  of  grey,  pale  red,  and  pale  yel¬ 
low,  with  a  pale  yellow  background.  An  ex¬ 
tremely  remarkable  impression,  both  in 
sharpness  of  line  and  in  delicacy  of  color. 
In  brilliant  and  flawless  condition. 


Kiyomitsu 


First  Afternoon 


67 —  The  Flute  Player 

The  actor  Bando  Hikosaburo  II. 
moves  gracefully  toward  the  left, 
holding  a  flute  to  his  lips. 

The  poem  at  the  top  of  the  print 
is  a  complimentary  dedication  to  this 
famous  actor  in  his  youth.  It  may 
be. freely  translated:  “Like  the  crane, 
which  is  your  emblem,  you  move  with 
gentle  steps;  you  play  the  bamboo 
flute  now  at  the  beginning  of  the  new 
year ;  you  shall  be  like  that  bamboo 
stem  which  grew  to  be  an  instrument 
of  music.”  This  actor  was,  however, 
destined  to  die  very  young — before 
the  age  of  thirty. 

A  pillar-print,  in  three  colors.  Excep¬ 
tionally  fine  impression,  in  excellent 
condition. 

68 —  The  Jar  of  Bamboos 

The  actor  Segawa  Kikunojo  II.,  in 
the  role  of  Oshichi  (see  No.  87), 
stands  before  a  huge  square  jar  of 
bamboos,  playing  with  a  scarf.  Her 
long  sleeves  and  trailing  gown  sweep 
in  splendid  curves.  This  actor  played 
this  role  in  1759,  in  1767,  and  in 
1768.  The  style  of  the  print  indicates 
that  it  must  be  one  of  the  two  latter 
performances  that  is  depicted. 

Size  liy,x5y2.  A  four-color  print.  A 
fine  impression,  which  in  spite  of  hav¬ 
ing  grown  very  brown  has  not  lost  a!’ 
of  its  beauty. 


First  Afternoon 


Kiyomitsu 


69 —  The  Little  Buddha 
The  actor  Ichikawa 
Danjuro  IV.,  in  the  role 
of  Hojo  Tokimasa  in 
the  play  “Kaido-ichi 
Yawarogi  S  o  g  a,”  is 
lifting  a  small  Buddha 
in  his  right  hand  while 
he  grasps  two  swords 
with  his  left.  The  extra¬ 
ordinary  rhythmic  swirl- 
pattern  of  his  robes 
gives  great  life  to  the 
design. 

Size  ll1/2's.5y2.  A  two- 
color  'print,  in  brick-red 
and  dark  green.  A  very 
fine  impression,  in 
superb  condition. 

70 —  Woman  Smoking 


The  actor  Segawa  Kiku- 
nojo  II.  as  a  woman, 
seated  on  a  bench.  She 
holds  a  long  pipe  in  her 
hand,  gazing  up  at  the 
branches  of  a  plum  tree 
that  arches  overhead.  Her  long  sleeves  fall  in  sweeping 
folds.  The  role  is  that  of  Iveisei  Tomagiku  in  the  drama 
“K  awaranu  Hana  Sakae  Hachinoke,”  performed  at  the 
Nakamura  Theatre  in  November,  1769. 


^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  9, 
and  there  referred  to  as  follows:  “Kiyomitsu’s  work  is 
markedly  stylistic, — even  dominated  by  a  certain  manner¬ 
ism  ;  and  one  comes  to  recognize  infallibly  the  formula 
he  uses,  and  to  regard  as  an  old  friend  that  peculiar  swirl 
of  drapery  and  swing  of  body  and  artificial  poise  of 
head  which  appear,  as  in  this  picture,  like  an  accepted 
convention  throughout  the  larger  number  of  his  designs.” 


Size  liy2x5%.  A  three-color  print;  very  fine  impression  and 
condition. 


Kiyomitsu 


First  Afternoon 


71 —  Samurai  with  Drum 

The  actor  Sawamura 
Sojuro  II.,  in  robes  of 
splendid  decorative  pat¬ 
tern,  stands  holding  up 
a  drum.  He  appears  in 
the  role  of  Kudozaemon 
Suketsune,  in  the  play 
“Edo  no  Hana  Wa- 
kayage  Soga,”  at  the 
I  c  h  i  m  u  r  a  Theatre, 
February,  1  7  6  9.  A 
massive  composition,  of 
much  dignity. 

Size  12x5 y2.  A  two-color 
'print,  in  brick-red  and 
dark  green,  with  strong 
use  of  black.  Very  fine 
impression  and  condi¬ 
tion. 

72 —  Drawing  the  Sword 
The  actor  Onoye  Kiku- 
goro,  in  the  rich  ceremo¬ 
nial  robes  of  a  samurai, 

stands  tense  in  an  attitude  of  challenge,  his  hand  on  the 
hilt  of  his  half-drawn  sword.  A  pine  tree  arches  in  the 
background. 

Size  111/2x51/2.  A  three-color  print;  extremely  fine  impression 
and  condition. 


73 — Program  of  the  Ichimura  Theatre 

At  the  top  of  the  picture  are  miniature  sign-boards  with 
the  names  of  the  actors;  below,  a  large  number  of  the 
actors  themselves  are  depicted  in  the  costumes  of  their 
roles.  Among  them  appear  the  famous  actor  of  heroic 
parts,  Matsumoto  Koshiro,  and  the  greatest  of  all  actors 
of  women’s  parts,  Segawa  Kikunojo. 

Size  12%xl8.  Printed  in  black  and  white.  In  good  condition. 


First  Afternoon 


Kiyohiro 


KIYOHIRO 

Worked  c.  1735-1760 

74 —  The  Wind  of  Love 
Under  the  waving 
brandies  of  a  willow 
moves  a  young  girl, 
her  garments  gently 
touched  by  the  wind. 
In  her  footsteps  fol¬ 
lows  a  youth  as 
young  and  graceful 
as  she.  The  poem 
inscribed  on  the  back¬ 
ground  may  be  trans¬ 
lated:  “The  wind  of 
love  whispers — and 
there  is  yielding  of 
the  willowy  limbs.” 

Size  10y,jx5i/2.  A  two- 
color  print,  in  rose 
and  preen.  A  fine  im¬ 
pression ,  in  good  con¬ 
dition. 

75-  — The  Legend  of  the 
Frog 

A  girl  in  the  guise  of 
Ono  no  Tofu,  (see 
No.  60),  in  robes  of  dark  green  and  rose,  stands  under 
a  beautifully  drawn  willow,  watching  the  frog  leap.  A 
design  of  peculiar  grace. 

Size  10ysx6.  A  two-color  print;  excellent  impression  and  con¬ 
dition. 


76 — The  Checked  Robe 

An  actor  of  the  Ichikawa  School,  as  a  samurai,  stands 

motionless  and  impassive,  concealing  his  hands  in  the 

long  sleeves  of  his  checked  robe. 

Size  12x6.  A  two-color  print,  in  green  and  brick-red.  Very  fine 
impression  and  condition. 


Kiyohiro 


First  Afternoon 


77 — The  Flying  Top 

A  laughing  boy,  whirling  on  one  foot,  tosses  a  top  into 
the  air,  where  it  revolves  suspended  for  a  moment.  His 
glowing  robes  pulsate  in  superb  lines  of  motion. 

Size  12x5 y2.  A  three-color  print;  very  fine  impression  and  con¬ 
dition. 


HARUNOBU 

1730-1770 

78 — Forget  Me  Not! 

An  exquisite  young  courtesan,  in  luminous  robes,  stands 
on  the  veranda  of  a  house ;  she  touches  with  a  delicate 
caress  of  farewell  the  umbrella  of  a  young  man  who  has 
just  taken  leave  of  her. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  14. 
with  the  following  comment:  “Harunobu,  feeling  himself 
akin  to  the  great  classical  tradition  whose  refined  beauties 
had  been  handed  down  from  ancient  China  mingled  with 
the  beauties  of  poets  and  sages,  determined  that  he 
would  lift  from  the  Ukioye  School  the  stigma  of  vulgarity 
which  the  theatre  had  given  it,  and  invest  it  with  some  of 
that  gentle  cultivation  which  fills  like  light  the  old  Chinese 
paintings  of  Ming  gardens.  Therefore  he  turned  his 
attention  to  the  depiction  of  another  world  than  the 
theatre, — the  life  of  aristocratic  ladies,  of  young  lovers, 
of  those  famous  beauties  who  in  humbler  station  were  the 
flowers  and  sunshine  of  the  tea-house  and  the  festival. 
This  picture  portrays  one  of  these.  His  method  of 
handling  the  figures, — a  peculiar  mingling  of  naivete  and 
sophistication,  like  that  of  a  minstrel  singing  incredible 
enchanted  legends  with  complete  seriousness,  was  a  new 
and  never-recovered  note  in  the  history  of  Ukioye.” 

Size  11x8.  A  supremely  fine  impression,  in  fresh  and  flawless 
condition. 


First  Afternoon 


Harunobu 


79 — The  Happy  Prince 

A  young  prince  in  pale  antique  robes  stands  on  a  veranda. 
To  the  right,  a  girl,  whose  concealed  figure  appears  only 
as  a  shadow  on  the  paper  screen,  is  gently  leading  him 
by  the  hand.  Delicate  grey  background. 

The  scene  is  from  the  legend  of  Prince  Yoshitsune  and 
Jorurihime;  see  No.  229. 

A  calendar-print ;  the  embossed  pattern  on  the  robes 
of  the  prince  contains  the  characters  “Meiwa  II,”  or 
1765,  the  first  year  of  Harunobu’s  development  of  poly¬ 
chrome  printing.  Signed  “Kogan,  member  of  the 
Kyosen  Renchu.” 

^Formerly  in  the  Hayashi  Collection;  reproduced  in 
the  Hayashi  Catalogue,  Page  112.  Later,  when  the 
property  of  M.  Charles  Vignier,  it  was  described  in  the 
V.  I.  K.  Paris  Catalogue,  “Harunobu,”  No.  83. 

Size  10x7.  Extremely  fine  impression  and  condition. 


Harunobu 


First  Afternoon 


80 — Reading  the  Letter 

A  young  girl,  in  flowing  draperies,  is  seated  on  a  kotatsu, 
or  covered  fire-box,  reading  a  love-letter ;  while  a  youth, 
hidden  beneath  the  comforter,  spies  upon  the  missive. 
Outside  the  window  appears  a  glimpse  of  snowy  bamboos. 

The  theme  of  the  print  makes  whimsical  allusion  to  the 
Ronin  story;  see  No.  120  hereinafter. 

Size  llx8y2.  si'n  extremely  -fine  impression,  in  brilliant  and  flaw¬ 
less  condition.  Slight  oxidization  of  the  grey  pigment  has  given 
a  magic  touch  to  the  colors. 


First  Afternoon 


Habunobb 


81 — Window  Opening  Toward  the  Sea 

Before  a  window  opening  onto  an  arm  of  the  sea  stands  a 
young  courtesan  in  pink  and  white.  At  her  feet  her  two 
small  girl-attendants  are  absorbedly  playing  with  a  doll. 
The  white  of  her  robe  is  printed  without  any  key-block, 
by  the  use  of  gauffrage  only. 

Size  11x8.  A  very  fine  impression,  in  good  condition. 


Harunobu 


First  Afternoon 


82 — The  Temple  Visit 

A  father,  mother  and  elder  sister  are  taking  a  little  girl 
to  the  temple  for  the  Miyamairi  Ceremony  of  naming. 
The  orange  temple-torii  rises  in  the  background. 

Another  copy  of  this  print  is  reproduced  in  the  Happer 
Catalogue,  1909,  with  the  remark:  “This  is  one  of  the 
most  superb  examples  of  the  complete  mastery  of  the  full 
palette  of  colors  of  this  ever-varying  artist  at  the  height 
of  his  powers  and  popularity.” 

Size  11x8%.  Very  fine  impression,  in  good  condition. 


First  Afternoon 


Harunobu 


83 — The  Departure 

A  graceful  youth  in  a  green  robe  stands  on  the  veranda 
enclosing  a  garden,  about  to  depart.  A  slender  cour¬ 
tesan,  one  of  Harunobu’s  delicate  butterfly-women,  is  ly¬ 
ing  at  his  feet  and  touches  his  robe  with  a  gesture  of 
reluctant  farewell.  Soft  color. 


Size  11x8.  An  extremely  fine  impression,  in  excellent  condition. 


Harunobu 


First  Afternoon 


84 — The  Snow-Rabbit 

After  the  first  snow-fall  of  the  season,  a  graceful  young 
woman  is  walking  across  a  snowy  courtyard,  followed  by 
a  little  girl  bearing  a  tray  on  which  is  a  snow-rabbit. 
One  of  the  delicate  masterpieces  of  line  and  color  that 
have  given  Harunobu  his  fame. 

Size  11x8.  A  remarkably  fine  impression,  in  good  condition. 


First  Afternoon 


Harunobu 


85 —  Courtesan  Riding  a  Carp 

The  rose-robed  figure  of  the  young 
girl,  holding  a  long  love-letter  in  her 
hand,  is  poised  on  the  back  of  a  huge 
black  and  gold  fish  as  it  swims  the 
waves.  Luminous  grey  background 
and  delightful  color. 

The  subject  of  this  print  embodies 
an  amusing  and  most  irreverent  allu¬ 
sion  to  sacred  things.  According  to 
the  venerable  legend,  the  ancient 
Taoist  sage  Kinku  Sennin,  a  hermit 
of  extreme  holiness,  having  once  ab¬ 
sented  himself  for  a  long  time  from 
the  haunts  of  men,  reappeared  at 
last,  riding  on  the  back  of  a  huge 
carp  as  it  leaped  from  the  water,  and 
bearing  in  his  hand  a  copy  of  the 
Buddhist  scriptures.  But  in  this  de¬ 
sign,  it  is  the  little  “flower  of  joy” 
and  her  love-letter  that  take  the 
sage’s  place. 

A  pillar-print.  An  extraordinarily  bril¬ 
liant  impression,  in  perfect  and  luminous 
con  dition. 

86 —  The  Actor  Bando  Hickasaburo  II. 
He  stands,  a  powerful  dignified  figure, 
carrying  the  basket  hat  of  a  komuso. 

The  figure  is  conceived  in  the  style 
of  the  “Primitives,”  very  like  Iviyo- 
mitsu ;  it  is  printed  from  three  color- 
blocks  only.  Harunobu  produced 
few  actor-portraits ;  all  of  them  were 
very  early.  Of  them,  this  is  a  most 
distinguished  example. 

^Formerly  in  the  Metzgar  Collec¬ 
tion;  reproduced  in  the  Metzgar  1916 
Catalogue,  Plate  10. 

A  pillar-print.  Very  fine  impression; 
excellent  condition. 


Harunobu 


First  Afternoon 


87 — The  Thunder  God 

A  young  courtesan  in  robes  of  soft 
luminous  color  crouches  in  terror  on 
a  balcony  with  her  child-attendant; 
while  overhead  the  Thunder  God 
Kaminari-san  throws  down  a  love- 
letter  to  the  timorous  young  beauty. 
In  his  excitement  the  god  drops  one 
of  his  drum-sticks.  The  color-scheme 
is  of  an  unusual  cool  exquisiteness, 
against  a  grey  background. 

^Formerly  in  the  Danckwerts  Col¬ 
lection  ;  reproduced  in  the  Danck¬ 
werts  Catalogue,  1914,  Plate  6. 

Pillar-print.  A  remarkably  brilliant  im¬ 
pression,  in  extraordinary  and  flawless 
state.  Apparently  it  has  never  been 
even  rolled. 


88 — The  Lovers’  Samisen 

The  two  lovers  are  reclining  before  a 
large  painted  screen ;  she,  dressed  in 
a  white  robe,  is  leaning  against  him 
and  holding  a  samisen  in  her  hand. 

Remarkably  rich  and  luminous 
color.  The  white  robe  is  printed 
without  black  outline  by  gauffrage 
alone. 

Size  8x11.  A  most  brilliant  impression, 
in  wholly  flawless  state. 


First  Afternoon 


Harunobu 


89 — The  Evening  Letter 

A  slender  girl,  in  loose  pale 
night-robes  that  reveal  her 
delicate  breast,  stands  before  a 
mosquito-netting,  reading  a 
letter.  Her  robe  falls  in  subtly 
drawn  folds. 

One  of  Harunobu’s  famous 
masterpieces.  Other  copies  are 
reproduced  in  the  V.  I.  K.  Paris 
Catalogue,  “Harunobu,”  Plate 
18;  and  in  Gookin’s  “Japanese 
Color  Prints  and  their  Design¬ 
ers,”  1913,  Page  22. 

A  pillar-print.  A  very  fine  im¬ 
pression,  in  faded  bxit  good  condi¬ 
tion. 


e9 

.n 

s  ft  V 

90 — Pheasant  and  Night  Sky 


An  overhanging  rock  rises  from 
the  edge  of  a  sinuous  stream ; 
there,  amid  flowering  peonies, 
perches  a  brilliant  pheasant. 
Two  birds  wheel  overhead, 
against  a  night  sky  of  solid 
black.  A  rare  print ;  formerly 
in  the  Lathrop  Collection,  N.  Y. 


✓ 

0 


Pillar-print.  A  fine  impression,  in 
beautiful  condition. 


Harunobu 


First  Afternoon 


91 — A  Tea-House  Girl 

The  slender  young  figure  of  the 
beautiful  tea-house  girl  Osen,  of  the 
tea-house  Kasamori,  in  smoothly- 
falling  pale  robes,  stands  beside  a 
small  tea  tray,  near  where  a  temple- 
torii  rises.  No  one  but  Harunobu 
ever  achieved  quite  this  grace  of 
drapery  and  serenity  of  motion. 

A  pillar-print.  A  very  fine  impression, 
in  excellent  condition. 


92 — Girl  Playing  with  Kitten 

^Reproduced  in  “Chats  on  Japanese 
Prints,”  Plate  15,  with  the  follow¬ 
ing  description :  “The  print  is  a  soft 
grey  and  lavender  study  of  a  girl. 
Within  the  long,  narrow  space, 
against  a  background  of  cool  grey, 
rises  the  figure,  whose  bent  pensive 
head  looks  down  at  the  ball  she  is 
dangling  before  a  cat  at  her  feet. 
Drooping  from  her  slender  shoulders 
fall  robes  whose  slow  curves  seem 
moulded  by  the  faint  and  gentle  airs 
that  breathe  around  her.  The  long 
drapery  is  interwoven  with  hints  of 
mauve  melting  into  rose, — more  like 
ghosts  of  the  palette  than  colors, — 
and  touches  of  translucent  salmon  and 
amber  and  grey  are  repeated  like  an 
arabesque  of  lights  down  the  folds.” 

A  pillar-print.  A  supremely  fine  im¬ 
pression,  in  superb  condition. 


First  Afternoon 


Harunobu 


93 — The  Boy’s  Kimono 

A  graceful  young  mother  is  getting  a  robust  little  boy 
into  his  kimono.  A  maid,  whom  a  cat  is  vainly  trying 
to  distract,  stands  by  with  the  boy’s  girdle.  Grey  back¬ 
ground.  A  rare  print. 

Another  copy,  from  the  Vever  Collection,  is  repro¬ 
duced  in  Challaye’s  “Le  Japon  Illustre,”  1915,  Page  55. 

Size  llx8i/2.  An  exceptionally  fine  impression,  in  excellent  con¬ 
dition. 


Harunobu 


First  Afternoon 


94 — The  Comfortable  Kitten 

A  young  girl?  drawn  with  all  Harunobu’s  visionary 
grace,  stands  before  a  large  screen,  holding  a  white  kitten 
in  the  bosom  of  her  robe.  A  small  girl  is  reaching  up 
her  hands  to  touch  the  little  animal.  The  idyllic  sweet¬ 
ness  of  the  great  artist’s  spirit  pervades  this  picture, 
whose  luminous  colors  no  one  but  he  ever  achieved. 

^Reproduced  in  Scribner’s  Magazine  for  March,  1916. 

Size  111/2x81/2.  An  impression  of  extraordinary  quality,  in  flaw¬ 
less  and  exquisite  condition. 


First  Afternoon 


Haeunobu 


95 — The  Black  Arch 

A  young  man  in  ceremonial  dress  stands  before  a  black 
arched  window;  a  young  girl  is  helping  him  to  tie  his 
girdle.  The  sky  beyond  the  arch  is  a  luminous  grey 
that  puts  the  figures  into  fine  relief. 

Formerly  in  the  Appleton  and  the  Metzgar  Collec¬ 
tions. 

Size  11x814.  An  extremely  fine  impression,  in  flawless  and,  lum¬ 
inous  condition. 


Harunobu 


First  Afternoon 


96 — “Evening  Snow  on  the  Hibachi,”  (Two  Prints) 

In  a  soft-toned  interior,  a  young  man  sits  pensively 
smoking  a  slender  pipe,  while  a  young  woman  is  shaping 
and  drying  floss-silk  over  a  small  fire-box.  One  of  the 
famous  “Zashiki  Hakkei,”  or  Eight  Parlor  Views,  de¬ 
signed  by  Haronobu  and  printed  by  Kyosen.  A  re¬ 
markable  example  of  Harunobu’s  command  of  color. 

Accompanying  this  print  is  an  excellent  modern  repro¬ 
duction,  made  from  it  by  Watanabe  of  Tokyo  in  1914. 
The  inexperienced  collector  may  perhaps  amuse  himself 
by  seeing  if  he  can  tell  which  is  which. 

Size  10y2x8.  An  impression  of  exceptional  quality,  in  flawless 
and  brilliant  condition. 


First  Afternoon 


Harunobu 


t: 


97 — Girl  Under  Snowy  Bamboos 

A  beautiful  young  girl  in  robes 
that  droop  in  purple  folds,  stands 
under  branches  of  snow-laden 
bamboo,  while  she  opens  the  um¬ 
brella  which  she  holds.  The  grey 
wintry  sky  contrasts  with  the  snow 
under  foot.  Full  of  the  charac¬ 
teristic  Harunobu  charm. 

A  pillar-print.  An  extremely  fine  im¬ 
pression,  in  beautifxd  condition. 


98 — The  Tea  House  Kitten 

Before  a  tea  house  stands  an 
extremely  tall  willowy  girl,  dangl¬ 
ing  a  ball  before  a  kitten.  Very 
fine  color. 

This  print  is  one  of  the  rare  de¬ 
signs  which  Harunobu  produced 
just  at  the  close  of  his  tragically 
brief  career, — designs  in  which  he 
elongated  his  figures  far  beyond 
nature. 

Pillar-print.  A  very  fine  impression , 
in  beautiful  condition. 


Harunobu 


First  Afternoon 


99 — The  Flute  Beside  the  Tama 
River 

The  legendary  hero  Shirai  Gom- 
pachi,  ronin-lover  of  the  beautiful 
Komurasaki,  moves  pensively  along 
the  shore  of  the  Tama  River  in 
Takano.  He  carries  the  flute  and 
basket  hat  of  a  komuso,  or  dis¬ 
honored  samurai. 

The  translation  of  the  poem  at 
the  top  of  the  print  is :  “Although 
the  travellers  forget  all  else,  they 
will  not  forget  to  fetch  water  from 
the  Tamagawa  in  Takano,” — ob¬ 
viously  an  allusion  to  some  legend. 
One  of  the  famous  series,  “The  Six 
Tama  Rivers.” 

A  pillar-print.  An  extremely  fine  im¬ 
pression,  in  admirable  condition. 


100 — The  Flute  Player 

The  same  hero  as  the  subject  of  the 
preceding  print,  but  a  wholly  dif¬ 
ferent  design,  without  background. 
A  notable  print ;  reproduced  in 
“Chats  on  Japanese  Prints,”  Plate 
15. 

A  pillar-print.  An  extremely  fine  im¬ 
pression,  in  admirable  condition. 


First  Afternoon 


Harunobu 


101 — The  Black  Hood 

A  girl  in  a  black  winter  hood  and 
purple  robes  moves  through  a  snowy 
winter  landscape;  the  snow  is  be¬ 
ginning  to  fall  again,  and  she  is 
just  raising  her  umbrella.  A  haunt¬ 
ing  figure  that  well  merits  its  fame. 
One  of  the  Tamagawa  series,  the 
Chidori  no  Tamagawa. 

Formerly  in  the  Lathrop  Collec¬ 
tion,  N.  Y.  Another  copy  is  repro¬ 
duced  in  the  Hayashi  Catalogue, 
Page  60. 

A  pillar-print.  An  extremely  fine  im¬ 
pression,  in  beautiful  condition. 


102 — Girl  with  Samisen 

A  young  courtesan  in  delicate 
colored  robes  is  seated  on  the  mat¬ 
ting;  she  has  just  finished  playing 
the  samisen. 

Size  814x6.  From  the  album  “Seiro  Bijin 
Awase.”  A  fine  impression  in  excellent 
condition. 


103 — The  Grey  Girdle 

A  standing  girl  in  flowing  robes  is 
tying  her  obi. 

Same  as  the  preceding/. 


Harunobu 


First  Afternoon 


104 — Young  Noble  with  Hawking 
Glove 

A  young  man  in  purple  robes  of 
great  dignity  stands  adjusting  a 
glove  for  falconry.  Harunobu  was 
never  a  vulgar  designer;  but  in  this 
print  he  expresses  an  aloofness  and 
distinction  that  is  more  than  usually 
superb.  A  rare  print. 

A  pillar-print.  A  very  fine  impression, 
in  beautiful  condition. 


KIYOTSUNE 

Worked  c.  1740-1770 

105 — The  Night  Lamp  at  Dawn 

In  the  foreground,  a  girl  is  ex¬ 
tinguishing  the  night-lamp ;  in  the 
background  are  two  lovers  under  a 
mosquito  net ;  the  man  is  still  asleep, 
but  the  woman  is  leaning  on  her 
elbow  to  smoke.  The  poem  at  the 
top  may  be  translated :  “The  early 
bell  of  dawn  has  come  too  soon ;  too 
soon  the  happy  night  is  over!” 

Another  copy  of  this  rare  print 
is  reproduced  in  the  Tuke  Cata¬ 
logue,  1911,  Plate  5;  and  another 
in  the  Happer  Catalogue,  1910, 
Plate  28. 


A  pillar-print.  A  very  fine  impression, 
much  faded. 


First  Afternoon 


Masunobu 


MASUNOBU 

Worked  c.  1740-1770 

106 —  Mother  and  Boy 

A  young  mother  in  pale  blue  robes 
stands  under  a  wind-swept  willow- 
branch,  while  a  little  boy  tugs  at  her 
skirt.  Grey  background. 

A  pillar-print.  A  superb  impression,  in 
flawless  and  beautiful  condition. 

107 —  The  Parachute  Leap 

A  young  girl,  grasping  an  umbrella 
as  a  parachute,  has  taken  the  dizzy 
leap  from  the  high  platform  of  Kiyo- 
mizu  Temple.  Her  garments  flut¬ 
ter  about  her  in  windy  folds.  At 
the  base  of  the  platform  stands  a 
young  man  awaiting  her.  Very 
unusual,  cool  color-scheme. 

This  print  is  a  frivolous  allusion 
to  the  old  superstition  that  if  one 
leaps  from  the  commanding  par- 
rapet  of  Kiyomizu  Temple  in 
Kyoto,  the  All-merciful  Goddess 
Kwannon  may  perhaps  waft  one 
gently  and  safely  to  earth,  and  in 
addition  grant  to  one  the  fulfillment 
of  that  hopeless  wish  which  caused 
the  desperate  attempt.  Here,  how¬ 
ever,  the  infatuated  girl  evidently 
thinks  Kwannon  a  less  safe  protec¬ 
tion  than  a  parasol ;  and  as  to  the 
fulfillment  of  the  wish, — is  not  her 
lover  already  waiting  for  her? 

A  pillar-print.  A  remarkable  impression, 
in  flawless  and  brilliant  condition. 


Masunobu 


First  Afternoon 


108 — The  Amiable  Hotei 

A  youth  in  robes  of  purple  and 
green  stands  balancing  on  the 
shoulder  of  the  fat  God  of  Good 
Fortune,  Hotei,  waving  the  god’s 
ceremonial  fan.  Remarkable  color. 

Another  copy  of  this  print  is  re¬ 
produced  in  the  Hayashi  Catalogue, 
1902,  Page  114;  and  another  in 
Kurth’s  “Japanische  Holzschnitt,” 
Plate  24. 

A  pillar-print.  A  superb  impression,  in 
flawless  glowing  condition. 


KORIUSAI 

Worked  c.  1770-1781 

109 —  Painting  the  Screen 

A  kneeling  courtesan  in  brilliant 
robes  of  black  and  orange  is  writing 
an  inscription  on  a  large  screen. 
Behind  her,  two  young  attendants 
are  grinding  ink  for  her.  From  the 
famous  series,  “Designs  of  Spring 
Greenery.” 

Size  15x10.  A  very  fine  impression  in 
flawless  condition. 

110 —  The  Peony  Robe 

A  courtesan  in  rich  robes  of  soft 
color  is  holding  up  a  small  boy  who 
claps  his  hands  at  a  young  girl 
standing  near  by.  From  the  same 
series. 

Size  15x10.  An  extremely  fine  impres¬ 
sion,  in  good  condition. 


First  Afternoon 


Koriusai 


111- — The  Vain  Disguise 

A  slender  youth  in  white,  wearing  the  mask-like  basket 
hat  of  a  komuso  or  wandering  mendicant,  stands  with  his 
flute  in  front  of  the  entrance  to  a  house.  A  courtesan 
and  her  attendant,  standing  on  the  veranda,  are  offer¬ 
ing  him  the  requested  alms, — but  offering  it  on  a  mirror, 
which  reflects  and  reveals  to  them  the  covered  face  of  the 
youth. 

No  reproduction  can  catch  any  trace  of  the  delicacy 
and  splendor  of  this  print,  in  which  Koriusai’s  charac¬ 
teristic  color-scheme  of  orange  and  blue  seems  to  reach 
its  highest  perfection.  The  blue,  as  is  so  rarely  the  case, 
is  quite  unchanged  by  time ;  the  orange  is  oxidized  in  the 
most  beautiful  tones.  Formerly  in  the  Appleton  Col¬ 
lection. 

Size  101/2x71/2.  A  matchless  impression ,  in  superb  condition. 


Koriusai 


First  Afternoon 


112 — The  Blue  Robe 

A  seated  courtesan,  in  black  and  orange,  is  examining 
a  wide-spread  blue  robe  which  her  young  attendant  is 
holding  up  for  her  inspection.  The  extraordinary  use 
of  this  large  mass  of  solid  blue  produces  one  of  the  most 
striking  effects  in  the  whole  of  Koriusai’s  work.  Form¬ 
erly  in  the  Appleton  Collection. 

Size  13x9.  A  remarkably  fine  impression,  in  flawless  and  lum¬ 
inous  condition. 


First  Afternoon 


Koriusai 


113 — Lovers  in  Garden 


Reizei,  the  maid  of 
Jorurihime,  (see  No. 
229),  has  just  ad¬ 
mitted  Jorurihime’s 
lover  to  the  garden. 
An  early  design,  in¬ 
fluenced  by  Haru- 
nobu.  Very  soft 
rich  color. 


Size  10x8  A.  remark¬ 
ably  fine  impression, 
in  beautiful  condition. 


114 — Girl  with  Hand- 
Lantern 

The  young  figure, 
in  sweeping  robes, 
crosses  a  courtyard, 
followed  by  a  dog. 
An  early  and  fine 
design,  in  strong 
Harunobu  style. 

Size  10  x  8.  An  ex¬ 
tremely  fine  impres¬ 
sion,  in  good  condi¬ 
tion. 


Kobiusai 


First  Afternoon 


115 — Moonrise  on  Yedo  Bay 

An  exquisite  little  courtesan  in  robes 
of  white  stands  adjusting  her  hair¬ 
pins.  Behind  her,  a  latticed  window 
opens  onto  the  sea,  where  the  moon 
is  rising  out  of  clouds.  An  early 
work,  in  the  Harunobu  style. 

A  pillar-print.  Very  fine  impression,  in 
excellent  condition. 


116 — Mother  and  Boy 

She  stands  with  bared  breast,  her 
grey  and  orange  robes  falling  grace¬ 
fully  about  her  slim  figure.  The 
boy  is  playing  with  a  small  dipper 
as  if  it  were  a  pipe.  This  is  one 
of  Koriusai’s  finest  early  works  in 
the  Harunobu  manner.  Pale  grey 
background. 

^Reproduced  in  “Chats  on  Jap¬ 
anese  Prints,”  Plate  16. 

A  pillar-print.  A  superb  impression,  in 
brilliant  and  beautiful  condition. 


First  Afternoon 


Koriusai 


117—  The  Ru  stic  Pavilion 

At  the  gate  of  a  small  pavilion  in 
the  midst  of  flooded  rice-fields  stands 
a  slim  young  courtesan  in  purple 
robes,  with  a  pensive  expression  on 
her  face.  A  red-robed  youth 
crouches  beside  her.  Is  this  per¬ 
haps  a  quiet  little  lover’s  holiday, 
far  from  the  great  city?  An  un¬ 
usual  composition  in  rich  color. 
Formerly  in  the  Lathrop  Collection, 
N.  Y.  A  rare  print. 

A  pillar-print.  A  remarkable  impression, 
in  wholly  flawless  and  brilliant  condi¬ 
tion. 

118 —  Two  Geisha 

They  stand,  in  long,  glowing  drap¬ 
eries  ;  the  nearer,  whose  black  robe 
gives  the  picture  its  character, 
holds  a  lute.  Other  copies  of  this 
print  exist  in  which  the  black  robe 
is  printed  in  a  pale  neutral  color, 
with  a  resulting  loss  of  contrast  that, 
is  immeasurable. 

^Reproduced  in  “Chats  on  Jap¬ 
anese  Prints,”  Plate  17,  with  the 
following  comment:  “Koriusai 
d  r  a  w  s  t  h  e  figures  of  these  two 
women,  one  behind  and  a  little  above 
the  other,  the  one  in  the  background 
luminous  with  soft  neutral  tints,  the 
one  in  the  foreground  robed  in  a 
black  whose  intensity  cuts  sharply 
through  the  otherwise  monotonous 
sweetness  of  the  picture.” 

A  pillar-print.  An  impression  that  is 
probably  unrivaled;  in  flawless  and  bril¬ 
liant  condition. 


Koriusai 


First  Afternoon 


119 —  The  Fire  Tower 

Before  a  huge  black  fire-tower  pass 
a  richly  dressed  courtesan  and  her 
small  girl-attendant.  The  composi¬ 
tion  is  unusual  and  striking. 

A  pillar-print.  An  extremely  fine  im¬ 
pression,  in  excellent  condition. 

120 —  The  Veranda  Letter 

A  young  samurai  in  purple  and 
green  robes  stands  on  a  veranda  and 
looks  up  to  find  with  astonishment 
that  a  girl  on  the  balcony  above 
him  is  leaning  over  and  trying  to 
read  the  letter  which  he  holds. 
Meanwhile,  unobserved,  a  man  hid¬ 
den  beneath  the  veranda  actually 
does  read  it.  The  color  of  the 
picture  is  exceptionally  harmonious. 

This  print  is  a  humorous  allusion 
to  the  famous  episode  in  the  story 
of  the  Forty  Seven  Ronin,  where  the 
hero,  Yuranosuke,  reading  a  letter 
which  discloses  the  plans  of  his 
sworn  enemy  Moronao,  is  spied  upon 
by  Moronao’s  retainer  Kudaya,  who 
is  hidden  beneath  the  floor  of  the 
inn-veranda. 

A  pillar-print.  An  extremely  fine  im¬ 
pression,  in  fine  and  brilliant  condition. 

121 —  The  Veranda  Letter 

A  wholly  different  treatment  of  the 
same  theme, — but  here  it  is  a  cour¬ 
tesan  who  takes  the  place  of  the 
spied-upon  hero,  while  a  youth  on 
the  balcony  looks  down,  and  an  un¬ 
shaven  man-servant  from  beneath 
the  veranda  indiscreetly  peeps  at  the 
young  lady’s  legs.  Rich  color. 

A  pillar-print.  Very  fine  impression  and 
condition. 


y. 


First  Afternoon 


Koriusai 


r~ 


122 — Mending  the  Robe 

A  kneeling  girl  in  garments  of 
bluish  grey  and  faint  pink  is  mend¬ 
ing  a  rip  in  the  pale  yellow  robe  of 
a  young  man.  Grey  background. 
In  both  drawing  and  color,  this 
print  has  an  unusual  and  individual 
character.  A  rare  print. 

A  pillar-print.  An  extremely  fine  impres¬ 
sion,  in  flawless  condition. 


123 — Courtesan  with  Dragon  Girdle 
Solomon  in  all  his  glory  was  doubt¬ 
less  less  splendid  and  less  self- 
possessed  than  this  young  woman 
whose  dragon-girdle,  pale  blue 
under-robe,  and  rich  black  and  rose 
over-robe  glow  as  if  light  shone 
through  them. 

^Reproduced  in  “Chats  on  Jap¬ 
anese  Prints,”  Plate  18,  with  the 
comment :  “She  stands  like  a  calm 
peacock,  with  glowing  orange  combs 
alight  in  her  hair.” 

A  pillar-print.  An  extremely  fine  im¬ 
pression,  in  flawless  condition. 


Koriusai 


First  Afternoon 


124 — Tea  House  Girl 

The  exceptionally  large  figure  of 
a  superbly  proportioned  tea¬ 
house  waitress  stands  before  a 
tea-booth.  The  drawing  is  a 
striking  example  of  Koriusai’s 
most  individual  style  at  its  com¬ 
plete  maturity,  when  it  no  longer 
resembled  Harunobu’s.  Fenol- 
losa  wrote  of  it :  “The  figure  is 
designed  to  rely  entirely  on  its 
own  dignity,  eschewing  all  the 
graces  of  embroidery  or  lace 
textures.  It  uses  a  fine  low  tone, 
enlivened  by  a  dull  orange.  The 
use  of  the  perforated  tea-tray  as 
a  bracelet  is  a  charming  touch.” 

A  pillar-print.  An  exceptionally 
superb  impression,  in  flawless,  plow¬ 
ing,  and  altogether  remarkable  con¬ 
dition. 


125 — Two  Lovers  in  the  Fields 

The  youth  is  carrying  the  girl 
through  blossoming  meadows; 
overhead,  crying  out  its  song, 
flies  the  cuckoo  of  spring. 

^Reproduced  in  “Chats  on 
Japanese  Prints,”  Plate  16. 

Pillar-print.  An  extremely  fine  im¬ 
pression.  In  beautiful  condition. 


First  Afternoon 


Koriusai 


126 — The  Convolvulus  Girl 

A  graceful  young  courtesan  in  long  robes  of  dark  blue 
stands  before  a  hanging  box  of  convolvulous  vines, 
delicately  tasting  a  bud  which  she  has  picked.  The  pale 
grey  background  gives  to  her  beautiful  head  a  fascinat¬ 
ing  warmth  and  perspective. 

A  pillar-print.  A  very  fine  impression,  in  beautiful  condition. 


127 —  Two  Lovers  Under  a  Willow 

The  girl,  in  rose-colored  robes  and  a  pale  green  girdle, 
is  seated  on  an  emerald-toned  bench  near  a  stream.  The 
youth,  in  faint  violet  robes,  stands  near  her,  playing  the 
flute.  The  lyric  mood  of  the  picture  is  one  that  was 
hardly  ever  again  matched  by  Koriusai.  Fenollosa 
greatly  admired  the  drawing  of  the  girl’s  figure :  “The 
sinous  curves  of  the  body  are  perfectly  felt  under  the 
rose  garment,”  he  wrote.  “This  is  surely  one  of  the  finest 
figures  ever  drawn  by  an  Ukioye  artist.” 

A  pillar-print.  An  extremely  fine  impression,  in  beautiful  soft 
condition. 

128 —  The  Kobe  of  Gauze 

In  a  robe  of  pale  purple  gauze  that  reveals  transparently 
the  contours  of  her  pink  under-robe  and  her  delicate 
limbs,  a  young  woman  stands  holding  a  round  fan. 
Beyond  the  veranda  where  she  stands  is  a  background  of 
mountains  in  the  summer  evening  light.  Fenollosa  wrote 
of  this  design:  “Who  can  deny  that  this  most  exquisite 
work  is  in  several  senses  an  advance  on  all  that  precedes  ? 
From  the  magnificent  drawing  of  the  nude  parts,  to  the 
costume,  a  dream  of  textures  and  colors ; — from  the 
broken  bamboo  and  the  back-lying  hills,  to  the  black 
chrysanthemum  on  the  circular  white  fan — an  elegance 
and  a  harmony  of  the  unexpected !  This  is  one  of 
Koriusai’s  finest  early  heads.” 

Another  but  inferior  copy  is  reproduced  in  the  V.  I.  K. 
Paris  Catalogue,  “Harunobu,”  Plate  306. 

A  pillar-print.  Extremely  fine  impression  and  condition. 


Koriusai 


First  Afternoon 


No.  126 


No.  127 


No.  128 


KORIUSAI,  THREE  PILLAR-PRINTS 


First  Afternoon 


Koriusai 


129 —  Autumn  Winds  in  the  Willow 

Two  young  girls  pass  under  a  willow  tree,  with  robes 
blown  into  beautiful  confusion  by  the  autumn  winds.  A 
rare  print. 

The  charming  simplicity  of  the  yellow  robe,  on  the 
left,  is  almost  the  heart  of  the  picture.  Yet  by  some 
freak,  which  shows  how  dangerous  revisions  are  to  any 
artist,  Koriusai  at  a  later  date  issued  a  new  impression 
of  this  design  in  which  he  added  a  very  marked  pattern 
to  these  draperies.  The  result  (see  reproduction  in  the 
May  Catalogue,  1918,  No.  581)  was  disastrous.  The 
line-rhythm  of  the  robes  vanished  forever. 

*This  print,  formerly  the  property  of  M.  Charles 
Vignier,  is  reproduced  in  the  V.  I.  Iv.  Paris  Catalogue, 
“Harunobu,”  Plate  32. 

A  pillar-print.  A  very  fine  impression,  in  slightly  soiled  hut 

extremely  beautiful  condition. 

130 —  Rabbits  and  Moon  ( Two  Prints ) 

A  white  and  a  pink  rabbit  crouch  among  convolvulous 
vines  under  a  pale  rising  moon.  Koriusai’s  animal  pic¬ 
tures  are  rare  and  famous ;  this,  by  virtue  of  its  fine 
composition  and  soft,  harmonious  color,  may  rank  as  one 
of  the  most  important  of  them. 

Accompanying  this  print  is  a  reproduction  of  it  made 
in  1916  by  Watanabe  of  Tokyo,  who  was  the  former 
owner  of  it. 

A  pillar-print.  A  superb  impression,  in  beautiful  condition. 

131 —  The  Well 

A  willowy  young  girl  in  green  and  grey  is  drawing 
water  from  a  well,  while  her  companion,  in  purplish  grey, 
washes  a  robe  in  a  flat  tub.  This  is  a  particularly  har¬ 
monious  copy  of  the  famous  design. 

*This  print,  formerly  the  property  of  M.  Charles 
Vignier,  is  reproduced  in  the  V.  I.  K.  Paris  Catalogue, 
“Harunobu,”  Plate  30.  Another  copy  is  illustrated  in 
the  Metzgar  Catalogue,  1916,  No.  37. 

A  pillar-print.  Extremely  fine  impression  and  condition. 


Koriusai 


First  Afternoon 


No.  129  No.  130  No.  131 

KORIUSAI,  THREE  PILLAR-PRINTS 


First  Afternoon 


Koriusai 


132 — The  Tassel 

A  tall,  slender  girl  in  a  violet-checked  summer  robe  with 
rose-colored  girdle  is  pulling  the  tassel  of  a  cord  that 
raises  the  mosquito-netting  over  her  bed.  The  drawing 
of  the  drapery,  and  the  suggestion  of  the  contours  of 
the  slim  body  beneath,  are  executed  with  fine  simplicity ; 
the  design  is  a  famous  one. 

A  pillar-print.  An  exceptionally  fine  impression,  in  brilliant 
condition. 


133 — Two  Lovers  Dressed  as  Komuso 

The  tall  and  dignified  figures  of  the  pair  move  toward 
the  left ;  he,  carrying  a  flute,  is  in  black  and  rose ;  she, 
carrying  a  yellow  basket-hat,  is  in  white  and  violet. 
Koriusai  rarely  drew  more  stately  figures.  Their  cos¬ 
tumes  are  an  allusion  to  the  story  of  the  beautiful  cour¬ 
tesan  Komurasaki  and  her  ronin-lover,  Gompachi. 

Another  copy  of  this  print  is  reproduced  in  the  Yosh- 
ida  Catalogue,  Amsterdam,  1911,  Plate  61;  and  another 
in  the  Sotheby  Sale  Catalogue  of  January  4,  1911. 

A  pillar-print.  A  very  fine  impression,  in  beautiful  condition. 


134 — The  New  Year’s  Dancer 

A  girl  in  the  archaic  black  hat  and  ornate  red  robes  of 
a  Manzai  dancer  poises  against  a  background  of  clouds 
and  rising  sun.  Fenollosa  wrote  of  this  design:  “This 
most  brilliant  print  illustrates  well  all  of  Koriusai’s 
finest  characteristics.” 

Another  copy  is  reproduced  in  the  V.  I.  K.  Paris  Cat¬ 
alogue,  “Harunobu,”  Plate  36. 

A  pillar-print.  A  very  fine  impression,  in  beautiful  condition. 


Koriusai 


First  Afternoon 


KORIUSAI,  THREE  PILLAR-PRINTS 


First  Afternoon 


Koriusai 


135 —  The  Lake  of  Golden  Carp 
Standing  on  a  small  orange-lac¬ 
quered  bridge  in  the  grounds  of  the 
Kameido  Temple  in  Yedo,  a  young 
couple  are  clapping  their  hands  to 
call  the  golden  carp, — while  their 
delighted  youngster  throws  crumbs 
down  to  the  leaping  fish.  Wistaria 
overhead ;  pale  grey  sky ;  pale, 
luminous  robes. 

*This  print,  formerly  the  prop¬ 
erty  of  M.  Charles  Yignier,  is  re¬ 
produced  in  the  Y.  I.  K.  Paris  Cat¬ 
alogue,  “Harunobu,”  Plate  34.  An¬ 
other  copy  is  illustrated  in  the  Tuke 
Catalogue,  1911,  Plate  7. 

A  pillar-print.  A  superb  impression,  in 
flawless  and  admirable  condition. 

136 —  A  Game  of  Tag 

A  young  girl  in  sweeping  robes  of 
soft  grey  is  being  pursued  by  a 
small  boy  around  a  tall  black  and 
yellow  screen  decorated  with  a  de¬ 
sign  of  the  sun  rising  over  waves. 
One  of  Koriusai’s  most  daring  com¬ 
positions. 

^Formerly  in  the  Lathrop  Collec¬ 
tion,  N.  Y.  Reproduced  in  “Chats 
on  Japanese  Prints,”  Plate  17,  with 
the  following  comment :  “In  this 
print  Koriusai  dashes  the  intense 
black  line  of  a  screen  down  through 
the  middle  of  the  picture,  and  sets 
the  delicate  eddies  of  the  child’s  and 
the  young  girl’s  garments  playing 
around  its  base.” 

A  pillar-print.  A  superb  impression,  in 
pood  condition. 


Shunsho 


First  Afternoon 


SHUNSHO 

1726-1793 

137 — The  Wrestling  Match 

Two  huge  wrestlers  poise  in  the  ring,  crouching,  ready 
to  spring  at  each  other  at  the  signal  of  the  umpire. 

The  magnificent  brutality  of  the  drawing,  the  mas¬ 
siveness  of  the  composition,  and  the  somber  intensity  of 
the  coloring,  combine  to  place  this  among  Shunsho’s 
masterpieces.  It  is  interesting  to  note  that  this  print, 
so  greatly  admired  in  Europe,  has  never  met  with  spe¬ 
cial  enthusiasm  from  most  American  collectors. 

Formerly  in  the  Hayashi  and  the  Wakai  Collections. 
Another  copy  is  reproduced  in  the  V.  I.  K.  Paris  Cata¬ 
logue,  “Harunobu,”  Plate  56. 

A  'print  of  quite  exceptional  size,  1414x19.  A  superb  impression 
in  beautiful  condition. 


First  Afternoon 


Shunsho 


138 —  Woman  With  Pipe 
The  actor  Nakamura 
Tomijuro  as  a  woman 
holding  a  smoking- 
tray  and  a  slender  pipe. 
A  figure  drawn  with 
that  curious  dramatic 
unreality  so  character¬ 
istic  of  this  artist’s 
manner. 

Size  12x5 y2.  A  fine  im¬ 
pression,  in  excellent 
condition. 

139 —  Man  With  Battle¬ 
dore 

The  same  actor,  as  So- 
ga  no  Goro,  in  pale 
orange-lighted  robes, 
stands  before  a  pale 
grey  and  orange  back¬ 
ground,  holding  a  bat¬ 
tledore.  A  quiet  and 
graceful  figure. 

Size  12x5 y2.  An  excep¬ 
tionally  fine  impression, 
in  flawless  condition. 

140 — Woman  Flower-Vendor 

The  actor  Iwai  Hanshiro  IV,  as  a  young  woman  holding 
a  fan.  Her  pale  orange  robes  are  alight  with  touches  of 
color.  Behind  her  on  a  stand  are  the  traditional  “Flow¬ 
ers  of  the  Autumn.”  Formerly  in  the  Fenollosa  and  the 
Gookin  Collections. 


Size  12x5.  Exceptionally  fine  impression ,  in  flawless  condition. 


Shunsho 


First  Afternoon 


141— A  Wrestler 

Tanikaze  Kajinosuke,  champion  of  all  Japan,  is  pictured 
walking  slowly  along  in  a  great  robe  of  red  and  yellow 
over  black.  His  massive  figure  and  heavy  face  are  su¬ 
perbly  depicted ;  and  the  contours  of  his  robe,  so  sug¬ 
gestive  of  the  bulk  within,  are  an  achievement  of  Shunsho 
at  his  best.  A  rare  print. 

Exceptionally  large  size  panel,  15x7.  A  remarkable  impression, 
in  flawless  condition. 


First  Afternoon 


Shunsho 


142 —  The  Demon  Killer 

The  legendary  Shoki,  famed  as  the 
Demon  Killer,  is  about  to  stab  with 
his  sword  two  miserable  small  imps 
who  are  writhing  on  the  ground  be¬ 
fore  him.  A  powerful  figure,  print¬ 
ed  chiefly  in  greys  and  pale  yellow. 

The  classical  canons  of  Chinese 
painting  lay  down  the  rule  that  pic¬ 
tures  of  Shoki  should  be  painted  in 
one  color  only.  Though  Shunsho 
has  not  obeyed  the  rule  literally,  he 
has  been  distinctly  influenced  by  the 
spirit  of  it ;  for  this  print  has  the 
effect  of  a  monotone.  And  this  de¬ 
tail, — one  of  a  thousand  that  could 
be  cited, — is  a  perfect  illustration  of 
the  erroneousness  of  regarding  the 
Ukioye  School  as  a  mere  negation 
of  classical  dogma,  and  failing  to 
recognize  the  fact  that,  consciously 
or  unconsciously,  in  its  own  peculiar 
way,  it  inherited  and  echoed  the  ra¬ 
cial  traditions  of  many  thousand 
years. 

A  pillar-print.  A  very  fine  impression, 
in  flawless  and  superb  condition. 

143 —  The  Red  Daimyo 

The  actor  Ichikawa  Danjuro  V, 
performing  a  Shibaraku  act  in  the 
great  red  robes  of  a  Daimyo  holding 
a  huge  sheathed  sword  aloft.  Fine 
color  and  line. 

Another  copy  of  this  print  is  re¬ 
produced  in  Succo’s  “Toyokuni,” 
I,  Plate  6. 

Size  12x6.  Extremely  fine  impression 
in  flawless  condition. 


144 — Warrior  on  a  Boat 

The  same  actor  as  an  armed  Daimyo  lifting  up  a  lacquer 
casket.  Rich  greens  and  orange  against  a  pale  grey  sky. 
Size  13x6.  A  superb  impression,  in  wholly  flawless  condition. 


Shunsho 


First  Afternoon 


145 — The  Legend  of  the 
Dwarf  Trees 

The  actor  Nakamura 
Tomijuro,  as  a  beau¬ 
tiful  young  courtesan 
standing  on  a  veranda 
in  rich  robes,  looking 
pensively  at  a  dwarf 
plum-tree.  It  is  rarely 
that  the  dramatic  ge¬ 
nius  of  Shunsho  ex¬ 
pressed  itself  in  such 
delicacy  and  grace. 

The  print  is  an  allu¬ 
sion  to  the  story  of  the 
poor  samurai  Sano 
Ganzaimon,  who,  to  en¬ 
tertain  an  unknown 
traveler  on  a  winter’s 
day,  cut  down  his  be¬ 
loved  potted  trees  for 
firewood.  The  guest 
proved  to  be  the  Sho¬ 
gun  Tokiyori  in  dis¬ 
guise  ;  he  later  called 

the  hospitable  samurai  to  a  high  place  in  his  court. 


Size  12x6.  An  extremely  fine  impression,  in  beautiful  condition. 


146— The  Woman  in  White 

The  actor  Nakamura  Tomijuro,  as  a  woman  in  sweeping 
robes  of  pure  white,  with  an  orange  comb  glowing  in  her 
black  hair,  against  a  background  touched  with  orange. 
The  superb  lines  of  the  draperies  and  the  strange,  tragic 
intensity  of  the  pose,  place  this  design  in  the  first  rank 
of  known  Shunshos.  A  rare  print. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  20. 

Size  llx5i/2.  A  superb  impression  in  flawless  condition. 


First  Afternoon 


Shunsho 


147 — Woman  in  Black  and 
Red  Robes 
The  actor  Iwai  Han- 
shiro  IV,  as  a  woman 
carrying  a  black  smok¬ 
ing-tray.  A  serene  fig¬ 
ure,  dressed  in  a  robe 
whose  brilliant  black, 
soft  grey  and  violet, 
and  touches  of  dull  red 
are  very  fine. 

Size  12y2  x  6.  Superb 
impression  in  flawless 
condition. 


148 — Woman  Under  a 
Blind 

The  same  actor,  as  a 
woman  in  luminous 
robes  of  purple,  green 
and  orange,  standing 
under  a  hanging  blind 
and  holding  a  roll  of 
papers. 

Size  12 x5y2.  A  superb 
impression,  in  brilliant 
condition. 


149 —  The  Jar  of  Incense 

The  actor  Ichikawa  Monnosuke  II,  as  a  stately  woman, 
sweeping  along  in  flowing  robes  of  purple  and  green 
against  a  grey  background.  She  holds  a  small,  smoking 
incense- jar  in  her  right  hand.  An  extremely  distin¬ 
guished  design. 

Size  13x6.  A  superb  impression,  in  flawless  condition. 

150 —  Man  in  Snow-storm 

The  actor  Nakamura  Juzo  II,  as  a  samurai  wandering  in 
a  snow-storm,  holding  a  large  umbrella  over  his  head. 
The  pale  colors  stand  out  against  the  grey  background, 
where  snowflakes  are  falling. 

Size  12x6.  Extremely  fine  impression  in  flawless  condition. 


Shunsho 


First  Afternoon 


151 — The  Temple-Bell  of 
Dojoji 

The  great  actor,  Ichi¬ 
kawa  Danjuro  V,  as 
the  Buddhist  priest  of 
Dojoji,  walking  with 
hands  clasped  behind 
him,  under  the  great 
bronze  temple-bell. 
The  blue  of  the  sky, 
the  touches  of  orange 
at  the  neck  and  sleeves, 
and  the  simplicity  of 
the  black  and  grey 
color-masses,  are  all 
elements  contributing 
to  the  masterly  effect. 
Finest  of  all  is  the 
drawing  of  the  bent 
shoulders  and  medita¬ 
tive,  swaying  attitude ; 
few  other  figures  of 
Shunsho’s  have  quite 
this  intensity  of  life. 
See  No.  167  herein  for 
the  story  of  Dojoji. 


Size  13x6.  A  superb  impression,  in  flawless  state,  with  even 
the  blue  unaltered. 


152 —  Man  on  Hill 

The  same  actor  in  ceremonial  robes  of  black  and  pale 
violet,  standing  on  a  hill.  The  subtly  calculated  color- 
harmony  of  the  design  is  noteworthy. 

Size  13x6.  A  magnificent,  impression,  in  wholly  flawless  condition. 

153 —  Man  With  Closed  Fan 

The  same  actor  as  a  samurai  in  antique  court  robes. 
Time  has  touched  the  luminous  colors  with  a  unique, 
opalescent  softness  and  brilliance. 

Size  12x6.  A  superb  impression,  in  superb  condition. 


First  Afternoon 


Shunsho 


154 — The  Red  Daimyo 

The  actor  Ichikawa 
Danzo,  in  a  Shibaraku 
role.  The  savage  force 
and  color  of  the  design 
are  memorable.  A 
rare  print. 

Size  12x6.  A  superb 
impression,  in  uniquely 
beautiful  condition. 


155 — The  Song  of  the 
Sword 

The  actor  Ichikawa 
Danzo,  as  a  sinister- 
looking  samurai  draw¬ 
ing!:  his  sword.  One  of 
Shunsho’s  masterpieces 
of  dramatic  intensity 
and  glowing  color. 

*R  eproduced  in 
“Chats  on  Japanese 
Prints,”  Plate  19,  and 
described  on  Page  174 
of  the  same  book. 

Size  12x6.  A  superb 
impression,  in  fine  con¬ 
dition. 

156 — The  Orange  Lacquer  Box 

The  actor  Ichikawa  Yaozo,  as  a  man  carrying  a  fan  and 
an  orange  lacquer  box,  stands  on  the  shore  of  a  river, 
under  the  branches  of  a  willow  that  droops  across  the 
grey  sky.  The  color  is  especially  notable. 

^Reproduced  on  the  cover  of  “Chats  on  Japanese 
Prints.” 

Size  12x6.  An  extremely  fine  impression,  in  beautiful  condition. 


Shunsho 


First  Afternoon 


157 —  The  Black  War-Horse 

The  hero  Yoshitsune,  in  full  armor,  is  seated  on  his  famous 
black  horse,  which  paws  the  ground  under  a  pine-tree. 
Time  has  touched  the  colors  of  this  print  with  peculiar 
softness,  making  it  a  luminous  surface  of  shifting  name¬ 
less  tones. 

Size  liy2x8.  A  superb  impression,  in  exceptionally  fine  condition. 

158 —  Princess  Under  a  Willow 

In  pale  exquisite  robes,  she  stands  by  a  stream  under  a 
willow. 

Formerly  in  the  Wakai  Collection.  Another  copy  of 
this  print  is  reproduced  in  Barboutau’s  “Biographies 
d’Artistes  Japonais,”  Page  40. 

This  and  the  following  six  numbers  are  all  from  Shun- 
sho’s  famous  series  of  illustrations  of  that  ancient 
romance,  the  “Ise  Monogatari.”  All  are  size  8x6,  and 
all  are  very  exceptional  impressions  in  extremely  fine  con¬ 
dition,  with  a  color-quality  wholly  unlike  the  ordinary 
copies  that  one  knows. 


First  Afternoon 


Shunsho 


159 —  Two  Court  Ladies  Beside  a  Fence 

See  preceding  number. 

160 —  A  Noble  and  His  Wife  Seated  in  a  Room 

See  preceding  number. 

161 —  A  Noble  and  a  Lady  on  a  Veranda 

See  preceding  number. 

162 —  Seated  Daimyo  in  a  Black  Robe 

See  preceding  number. 

163 —  Two  Nobles  Watching  a  Swallow 

See  preceding  number. 

164 —  Three  Nobles  Beside  a  Waterfall 

See  preceding  number. 


165 — Samurai  With  Long  Sword 

The  actor  Ichikawa  Yaozo  in  the  role  of  a  samurai  hold¬ 
ing  up  a  great  sword.  The  splendor  of  his  robes  and 
the  soft  tones  of  the  background  give  Shunsho  an  oppor¬ 
tunity  for  one  of  his  most  spirited  color-improvizations. 

Size  13x6.  A  superb  impression,  in  a  matchless  condition  that  is 
due  to  the  softening  effect  of  time  on  certain  of  the  colors. 


166 — Man  With  Lantern 

The  actor  Matsumoto  Koshiro  as  a  young  samurai  car- 
rying  a  lantern  and  a  small  white  box  on  a  tray.  The 
color-scheme  of  deep  blues  and  reds  and  pale  orange  has 
an  enamel-like  transparency  and  softness. 

Size  12x514.  A  very  exceptional  impression,  in  unsurpassable 
condition. 


Shunsho 


First  Afternoon 


167 — The  Temple  Bell  of  Dojoji 

The  actor  Segawa  Ivikunojo  II,  in 
pale  robes  of  superb  geometrical 
pattern,  stands  under  the  great  bell 
of  Dojoji.  Pale  grey  background. 
In  every  respect,  this  rare  design  is 
one  of  Shunsho’s  triumphs. 

The  play  of  which  this  is  a  repre¬ 
sentation  was  derived  from  a  story 
whose  scene  was  the  Temple  of  Do¬ 
joji,  in  the  Province  of  Kii,  near 
Kyoto.  Here,  in  the  Tenth  Cen¬ 
tury,  the  monk  Anchin,  having  re¬ 
pulsed  the  amorous  advances  of  the 
infatuated  girl  Kiyohime,  fled  from 
her  wrath  and  hid  himself  in  the 
shadows  beneath  the  great  bell  that 
hung  in  the  temple  grounds.  She, 
having  procured  the  aid  of  certain 
evil  spirits,  pursued  him ;  and  trans¬ 
forming  herself  into  a  dragon,  she 
touched  the  enormous  bell,  which  at 
once  fell  to  the  ground,  covering  the 
unfortunate  priest.  Thereupon  the 
revengeful  dragon-woman  curled  her 
fiery  length  about  the  bell,  and 
lashing  it  into  a  white  heat  with  her 
flaming  body,  she  consumed  her 
recreant  lover,  and  perished  herself 
as  the  bell  collapsed  in  a  molten 
flood. 

A  pillar-print.  A  superb  impression,  in 

flawless  and  magnificent  condition. 


First  Afternoon 


Shunko 


SHUNKO 

Worked  c.  1769-1790 

168 —  Youth  With  Sword 

The  actor  Iwai  Hanshiro 

IV,  in  the  role  of  Soga  no 

Goro,  standing  under  a 

p  i  n  e-tree  ;  his  purple 

robes  swirl  in  the  wind. 

Size  11x5.  Very  fine  im¬ 
pression  and  condition. 

169 —  Man  With  Pipe 
The  actor  Ichikawa  Mon- 
nosuke  II,  as  a  man  with 
a  slender  pipe,  walking 
on  the  shore  of  a  stream. 
H  is  black  robe  is  touched 
with  lights  of  rose. 

^Reproduced  in  “Chats 

on  Japanese  Prints,” 

Plate  24.  Formerly  in 

the  Wakai  Collection. 

Size  13x6.  Extremely  fine 
impression  and  condition. 

Fhe  actor  Onoye  Matsusuke  as  a  ragged  beggar  or 
ruffian,  in  a  red  tunic. 

A  magnificent  design, — one  of  the  finest  of  all  known 
actor-portraits.  But  it  is  far  finer  than  Shunko  ever 
intended  it  to  be — for  the  grey  background  and  the 
green  earth  have  been  printed  in  by  that  clever  gentle¬ 
man  in  Tokyo  who  “revamps”  (and  very  often  im¬ 
proves!)  genuine  old  prints,  and  whose  devices  were  first 
detected  by  the  writer  and  first  investigated  and  revealed 
by  Mr.  Frederick  W.  Gookin.  Many  dealers’  stocks  are 
now  full  of  these  revamped  sheets ;  and  few  collections 
are  free  from  them. 

Size  1 1  i//2x5,/2.  Marvelous  impression  and  condition. 


170 — The  Red  Beggar 


Shunko 


First  Afternoon 


171 —  A  Wrestler 

The  gross,  towering  figure,  drawn 
in  a  few  powerful  lines,  stands  with 
crafty,  watchful  eyes  and  alert 
hands. 

A  rare  and  remarkable  print. 
Until  one  understands  why  the  Jap¬ 
anese  loved  these  expressions  of  the 
brutal  and  savage  forces  of  life 
quite  as  much  as  they  loved  the  girls 
of  Harunobu,  one  has  not  begun  to 
understand  Japanese  art. 

A  pillar-print.  Fine  impression;  all 
color  has  been  wiped  out  by  time ,  and 
the  print  has  now  the  effect  of  a  pure 
black-and-white. 

172 —  The  Black  Daimyo 

The  actor  Nakamura  Tomijuro,  in 

vast  black  robes  touched  with  rose. 

An  unusual  composition. 

Size  13x6.  Fine  impression,  in  excellent 
condition. 


SHUNYEI 

1767-1819 

173— The  Red  Fan 

An  actor  in  a  robe  of  smoky  orange 
stands  holding  an  open  fan.  One  of 
the  famous  Ronin  Series. 

^Reproduced  in  “Chats  on  Jap¬ 
anese  Prints,”  Plate  23,  with  the 
following  comment :  “On  a  grey 
background,  this  powerfully  de¬ 
signed  figure  stands  out  with  gigan¬ 
tic  simplicity  in  masses  of  dull  color. 
The  prints  of  this  rare  type  are 
perhaps  Shunyei’s  best.” 

Size  15x10.  Very  fine  impression  in 
flawless  condition. 


First  Afternoon 


Shunyei 


174 — The  Blue  Umbrella 
Ichikawa  Monnosuke 
II  in  the  role  of  the 
Otokodate  Sukeroku, 
carrying  a  large,  blue 
umbrella. 

Size  12x6.  A  very  fine 
impression,  in  flawless 
condition. 


175 — The  Green  Robe 

An  actor  in  the  role 
of  a  samuiai  stands 
poised  in  a  dark  green 
robe  of  geometrical 
pattern.  From  the 
same  series  as  No.  173, 
and  equally  fine. 

Size  15x10.  A  very  fine 
impression,  in  flawless 
condition. 


176 — Woman  in  Snow 

The  actor  Iwai  Hanshiro  IV,  in  woman’s  costume,  stands 
under  snowy  boughs  on  the  banks  of  a  stream.  Grey 
sky. 

Formerly  in  the  Hayashi  Collection. 

Size  13x6.  A  very  fine  impression,  in  very  fine  condition. 


Shunjo 


First  Afternoon 


SHUNJO 

(Same  as  Shunyei) 

177 —  Woman  in  Black 
The  actor  Nakamura 
Riko,  as  a  woman,  in  a 
beautifully  drawn  black 
robe.  The  pale  pink  obi 
has  been  slightly  oxidized 
by  time,  with  notable 
shadowy  result. 

Size  13x6.  A  superb  im¬ 
pression,  in  flawless  and 
unique  condition. 

BUNCHO 

Worked  c.  1765-1780 

178 —  Actor-Fan 
A  fan-shaped  portrait  of 
Ichikawa  Danjuro  V  as 
Soga  no  Goro,  in  the 
play  “Soga  Aigo  no  Wa- 
kamatsu,”  given  at  the 
Nakamura  Theatre  in 

1769.  He  was  then  known  as  Matsumoto  Koshiro  III. 
The  first  edition  of  this  print,  published  in  1770,  shows 
him  with  the  Koshiro  emblem ;  the  second  edition,  in 
1774,  has  had  this  emblem  removed  by  mortising  the 
block,  and  the  Ichikawa  emblem  was  substituted. 

Size  9y2x6.  Good  impression  and  condition. 

179 — The  Stone  Lantern 

The  actor  Ichikawa  Danjuro  as  a  Samurai  standing  un¬ 
der  bamboos  beside  a  stone  lantern.  The  color  of  the 
print  is  very  fine  and  highly  characteristic  of  Buncho. 

Size  12x5.  An  admirable  impression,  in  flawless  condition. 


First  Afternoon 


Buncho 


180 —  Samurai  in  Rain  Storm 
The  actor  Ichikawa  Yao- 
zo  II,  as  a  samurai  in  a 
shower  of  rain,  holding 
up  a  large  umbrella. 
Grev  sky.  The  role  is 
that  of  Makabe  no  Hach- 
iro,  in  the  play  “Neuriki 
Yuzurika  no  Kagami,” 
produced  at  the  Naka¬ 
mura  Theatre  in  the  au¬ 
tumn  of  1769. 

Size  12x5 y2.  An  excellent 
impression  in  very  fine 
condition. 

181 —  The  Hobby  Horse 
The  actor  Matsumoto 
lvoshiro  III,  who  later 
became  Danjuro  V,  as  a 
man  carrying  a  hobby¬ 
horse.  Very  fine  color. 

Size  12x5%.  A  very  fine 
impression  in  perfect  con¬ 
dition. 


s 


5 


182 — The  Red  Fence 

Before  a  red  fence  are  two  actors  of  the  Ichikawa  School ; 
the  standing  one  is  playing  the  flute.  Powerful  and  fine 
color. 


( 


(? 

.  p 

I) 


0 


i ; 


A 


Size  121/2x5%.  A  superb  impression,  in  flawless  condition. 


Buncho 


First  Afternoon 


183 — Man  Before  a  Win¬ 
dow 

The  actor  Ichikawa 
Monnosuke  II,  stand¬ 
ing  in  the  role  of  Soga 
no  Goro,  before  a 
grated  window.  The 
tragic  story  of  the  Re¬ 
venge  of  the  Soga 
Brothers  is  one  of  the 
famous  Japanese  pop¬ 
ular  legends.  A  char¬ 
acteristically  poised 
Buncho  figure,  in  pale 
colors. 

Size  13x6.  A  very  fine 
impression,  in  good  con¬ 
dition. 


184 — Woman  With  Cat 

An  actor  in  the  role  of 

Josan  no  Miya,  leading 

a  cat  by  a  cord.  See 

No.  27.  An  interior 

opening  on  a  balcony. 

Size  12x5 y2.  Very  fine 
impression,  in  good  con¬ 
dition. 


TOYOHARU 

1733-1814 

185 — The  Scenery  of  Lake  Biwa 

A  scene  bringing  together  in  one  composition  all  the 

Eiffht  Famous  Views  of  Lake  Biwa.  This  is  one  of  the 
© 

most  pleasing  of  the  designs  of  this  earliest  Ukioye  land¬ 
scape  master,  the  teacher  of  the  teacher  of  Hiroshige. 
Exceptionally  good  color. 

Size  10i/2xl5.  A  superb  impression,  in  flawless  condition;  even 
the  evanescent  blue  is  entirely  unaltered  by  time. 


First  Afternoon 


Shigemasa 


SHIGEMASA 

1740-1819 


186 — The  Balcony 

Three  women  enjoying  themselves  on  a  balcony,  from 
which  they  watch  a  cuckoo  flying  by. 

This  and  the  four  following  numbers  are  from  the 
album  “Mirror  of  the  Beauties  of  the  Green  Houses,” 
issued  in  1776  by  Shunsho  and  Shigemasa  in  collabora¬ 
tion.  It  is  generally  regarded  as  the  most  beautiful 
book  ever  produced  in  Japan. 

Each  print  is  size  8^x12.  All  are  exceptionally  fine  impressions 
in  good  condition. 


187 —  The  Tea  Garden 

See  the  preceding  number. 

188 —  The  Gold-Fish  Tank. 

See  the  preceding  number. 

189 —  The  Game  of  Kitsune  Ken 

See  the  preceding  number. 


190 — The  Music  Party 


See  the  preceding  number. 


Shigemasa 


First  Afternoon 


191 — The  Grey  Umbrella 


A  woman  in  dull  green  stands  hold¬ 
ing  a  closed  umbrella ;  another 
woman  in  pale  fawn-color  is  speak¬ 
ing  to  her.  The  simplicity  of  the 
drawing  and  the  originality  of  the 
large,  plain  color-masses  give  this 
print  a  wholly  individual  and  very 
distinguished  quality. 

The  print  is  unsigned ;  it  was  re¬ 
garded  as  a  Shuncho  by  the  dealer 
from  whom  it  was  purchased.  But 
this  attribution  is  believed  to  be 
erroneous.  Mr.  Frederick  W.  Goo- 
kin  first  suggested  the  present  at¬ 
tribution  ;  it  seems  unquestionably 
the  correct  one, — especially  in  view 
of  the  fact  that  Shigemasa,  in  the 
pride  of  his  conscious  supremacy,  so 
often  disdained  to  affix  his  signa¬ 
ture  to  his  works. 


^Reproduced  in  “Chats  on  Jap¬ 
anese  Prints,”  Plate  18,  with  the 
following  remarks:  “Shigemasa’s 
draughtsmanship  is  the  one  quality 
that  marks  him  throughout  all  his 
changes ;  from  first  to  last,  it  is  su¬ 
perb.  With  a  fine  firmness  and  ease 
he  produces,  as  in  this  picture,  designs  in  which  restraint 
combines  with  great  expressiveness.” 


A  pillar-print.  Superb  impression  and 
condition. 


192 — The  Orange  Umbrella 

Two  geisha  in  pale  robes  stand  un¬ 
der  a  large,  orange  umbrella,  which 
is  tilted  at  an  angle  that  gives  the 
design  half  its  life. 


A  pillar-print.  Very  fine  impression  and  condition. 


First  Afternoon 


Shigemasa 


' 


193 — Snowy  Eaves 

A  graceful  young  girl  in  robes  of  dull 
red  and  brown  is  sweeping  the  snow 
off  the  eaves  of  a  house.  A  grey, 
wintry  sky  serves  as  background.  One 
of  Shigemasa’s  rare  early  works,  and 
one  of  the  finest  of  them. 

A  pillar-print.  Extremely  fine  impression, 
in  beautiful  condition. 


194 — The  Falcon 

The  grey  bird  rests  on  a  perch  of  pale 
and  elaborate  rose  and  green,  survey¬ 
ing  the  sky.  The  contrast  between 
the  grey  and  the  mass  of  luminous 
color  is  carefully  planned. 

A  pillar-print;  extremely  fine  impression, 
in  fine  clear  condition. 


Shigemasa  First  Afternoon 


195 — The  Red  Samisen  Box 

Two  graceful  geisha,  in  robes  of  quiet  richness,  are  fol¬ 
lowed  by  a  servant  carrying  a  samisen  box. 

One  of  the  rare  and  famous  masterpieces  of  Shige- 
masa’s  full  maturity.  Fenollosa  wrote  of  this  design : 
“Iviyonaga  at  this  day,  with  all  his  savage  dash  of 
youthful  penmanship,  must  have  bowed  to  Shigemasa  as 
the  one  man  from  whom  he  could  learn  great  things. 
The  line-idea  of  this  picture,  and  the  clear,  large  notan 
spotting,  recall  again  to  us  the  final  triumphs  of  Masan- 
obu  and  of  Harunobu.” 


Size  15x91/2-  A  beautiful  impression,  in  fine  condition. 


FIRST  EVENING  SALE 


TUESDAY,  FEBRUARY  10,  1920 

AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  8:15  O’CLOCK 


Catalogue  Nos.  196  to  405,  inclusive 


KIYONAGA 

1742-1815 

196 —  The  Ladies’  Promenade 

Two  graceful  women,  in  robes  of  green  and  black,  are 
walking  under  a  large  umbrella  held  by  a  servant.  No 
background. 

Size  10x7 y2.  A  very  fine  impression,  in  flawless  condition. 

197 —  The  Grey  Screen 

Before  a  grey  screen  a  servant  kneels  with  a  tray ;  behind 
her  a  woman  in  black  and  rose  is  talking  with  another 
woman  in  pale  purple.  Faint  yellow  background. 

One  of  the  series,  “Customs  of  the  Eastern  Capital.” 
In  exceptionally  fine  and  delicate  color. 

Size  91/2x71/2.  A  remarkably  fine  impression,  in  fine  condition. 

198—  The  Blue  Robe 

Two  reclining  lovers  who  are  embracing.  The  drawing 
of  the  man’s  figure  is  extremely  fine,  as  is  also  the  color. 
Nudes  by  Kiyonaga  are  rare. 

Size  7y3xl0.  A  superb  impression,  in  flawless  state. 


First  Evening 


Kiyonaga 


199 — The  Black  Girdle 

The  actor  Segawa  Kiku- 
nojo  III  as  a  woman  pa¬ 
rading:  before  a  decora- 
tion  of  pine-trees.  Among 
the  rare  hoso-ye  actor 
prints  of  Kiyonaga’s 
earliest  maturity,  this 
must  take  a  high  place. 
In  style,  it  marks  the 
transition  from  his  peri¬ 
od  of  imitation  to  the 
brush-work  that  was  his 
mature  glory. 

Size  12y2x6.  A  very  fine 
impression;  faded,  but  still 
white  and  luminous. 


200 — Geese  Flying  Down  in 
Autumn 

Described  as  follows  by 
Mr.  Frederick  W.  Goo- 
kin  in  the  Buckingham 
Catalogue :  “Two  women 
are  standing  by  a  house, 
and  one  is  looking  at  geese  flying  down.  The  resem¬ 
blance  is  to  the  style  of  Shigemasa,  an  artist  highly  re¬ 
nowned  for  his  brush-strokes.  Kiyonaga  could  not  fol¬ 
low  anyone  better  qualified  to  guide  him  in  this  regard, 
but  not  for  long  did  he  follow  anybody.” 

Size  10x7.  Extremely  fine  impression  and  condition. 

201 — Two  Ladies  Beside  a  Stone  Lantern 

An  extremely  puzzling  print,  which  the  writer  regards 
as  a  reproduction,  but  which  a  number  of  other  students 
believe  to  be  a  perfectly  genuine  work  made  from  recut 
blocks  in  Kiyonaga’s  own  day.  It  is  very  difficult  to 
prove  the  correctness  of  either  view. 

Size  10x7.  Fine  impression  and  condition. 


Kiyonaga 


First  Evening 


i 


204 


202 —  Actor  Under  a  Plum 

Bough 

Ichikawa  Danjuro  as 
the  Otokodate  Suker- 
oku  in  black  and  rose 
robe.  Note  the  enor¬ 
mous  difference  in  style 
between  this  and  No. 
199.  That  print 
marked  the  beginning 
of  Kiyonaga’s  mature 
development ;  this  print 
is  characterized  by  the 
brilliant  brush-strokes 
of  his  perfect  ripeness. 
A  remarkable  rarity. 
Formerly  in  the  Lath- 
rop  Collection,  N.  Y. 

Size  12x5 y2.  An  excep¬ 
tionally  fine  impression , 
in  flawless  condition. 

203 —  The  Visit  to  the 

Temple 


Three  slender  girls  in 
luminous,  soft-colored  robes  are  proceeding  with  a  child 
and  a  servant  to  visit  a  temple.  A  charming  print,  in 
both  drawing  and  color.  Formerly  in  the  Appleton  and 
the  Metzgar  Collections. 

Size  10x7.  Superb  impression  and  condition. 


The  Balcony 

Two  graceful  girls  and  a  youth  take  their  ease  on  a  bal¬ 
cony  at  Hakone.  The  brilliant  line-work  of  the  design 
would  make  any  two  square  inches  of  it  recognizable  as 
Kiyonaga’s  though  all  the  rest  had  perished. 

Size  10x7 y2.  A  fine  hnpression;  somewhat  faded. 


First  Evening 


Ktyonaga 


205 — Winds  of  the  Sumida  River 

At  the  prow  of  a  boat  stands  a  girl,  her  glowing  gar¬ 
ments  the  sport  of  the  river-winds.  Behind  her,  against 
a  background  of  Ryogoku  Bridge  trestles,  her  compan¬ 
ions, — a  young  man,  geishas,  and  attendants, — amuse 
themselves  with  their  river-holiday. 

Kiyonaga  rarely  surpassed  the  triumph  of  this  de¬ 
sign  ;  nor  is  there  any  one  of  his  characteristic  splendors 
lacking  from  this  masterful  work.  Mr.  Frederick  W. 
Gookin  writes  of  the  Buckingham  copy  of  it:  “The 
yellow  wooden  piers  and  cross-ties,  with  the  green  land¬ 
scape  of  the  river-bank  showing  between  them,  form  a 
dominant  note  in  the  composition  which  is  one  of 
Kiyonaga’s  finest  in  the  manner  of  that  year.” 

*This  print,  formerly  the  property  of  M.  Charles 
Vignier,  is  reproduced  in  the  V.  I.  Iv.  Paris  Catalogue, 
“Kiyonaga,”  Plate  34. 

Size,  each  sheet  1414x10.  A  superb  impression,  in  brilliant  and 

flawless  condition. 


206 — Three  Women  at  Dusk 

The  three  tall,  majestic  figures,  one  carrying  an  um¬ 
brella,  move  in  soft,  simple  robes  against  a  grey  back¬ 
ground.  These  are  the  figures  of  Kiyonaga’s  prime, — 
more  divine  than  human  in  their  calm  and  gracious  dig- 
nity.  The  raised  bare  arm  of  the  central  figure  is  an 
especially  beautiful  touch.  This  print  may  have  been 
revamped ;  the  writer  is  not  sure. 

Size  15i/2xl0.  A  superb  impression,  in  beautiful  condition. 


Kiyonaga 


First  Evening 


205— KIYONAGA.  WINDS  OF  THE  SUMIDA  RIVER 


First  Evening 


Kiyonaga 


207 — The  Matchmaker 

Two  tall  and  beautiful  young  girls  stand  at  the  right; 
in  the  middle  sits  a  young  man  to  whom  an  elderly, 
laughing  man  is  whispering.  One  of  Kiyonaga’s  mas¬ 
terpieces. 

Size  15x10.  A  wholly  superb  impression  in  flawless  condition. 


Kiyonaga 


First  Evening 


208 — The  Ferry 

On  the  Sumida  River  a  ferry  boat  is  passing  from  shore 
to  shore.  In  it  stand  a  man  in  black  robes  and  a  woman 
in  robes  of  pale  orange;  while  a  child  and  an  exquisitely 
drawn  young  girl  occupy  the  seats.  Had  Kiyonaga 
done  nothing  but  this  one  girl,  he  would  be  memorable. 
This  print  is  the  middle  sheet  of  one  of  Iviyonaga’s  most 
majestic  triptychs. 

*This  copy  is  reproduced  in  the  Sale  Catalogue  of  the 
Hotel  Drouot,  Paris,  March  23,  1908.  Another  copy  is 
illustrated  in  the  V.  I.  K.  Paris  Catalogue,  “Kiyonaga,” 
Plate  33;  and  another  in  Fenollosa’s  “Epochs  of  Japan¬ 
ese  Art,”  Vol.  2,  Appendix. 

Size  ny2x9y2.  A  superb  impression,  in  beautiful  luminous  con¬ 
dition. 


First  Evening 


Kiyonaga 


209 —  Court  Lady  of  Olden  Time 

In  long,  antique  robes,  drawn  with  all  Kiyonaga’s 
splendor  of  line,  she  stands  by  the  edge  of  a  stream. 
Kiyonaga  did  a  series  of  designs  of  this  type,  of  which 
this  is  perhaps  the  finest. 

Size  15x10.  A  superb  impression,  in  beautiful  condition. 

210 —  The  Brazier 

Four  actors  in  heroic  roles  are  gathered  around  a  braz¬ 
ier.  The  very  marvelous  quality  of  the  impression 
merits  attention. 

Size  101/U8.  A  most  exceptional  impression,  in  flawless  condi¬ 
tion. 


Kiyonaga 


First  Evening 


211 — Music  Beside  the  Garden 

Three  geishas,  in  a  room  opening  onto  a  garden,  are 
about  to  begin  to  play ;  while  a  maid  brings  in  a  sami- 
sen-box.  The  lovely  figures  and  cool,  delicate  colors 
mingle  in  a  grave  harmony. 

Size  15x10.  A  superb  impression,  in  flawless  condition. 


First  Evening 


Kiyonaga 


212 — The  Evening 
Terrace 


In  a  r  o  o  m 
opening  onto  a 
tea-house  ver¬ 
anda  that  looks 
out  over  an 
evening  sea, 
three  geishas 
are  grouped 
with  their  mu¬ 
sical  i  n  s  t  r  u- 
ments  about 
them.  The  con¬ 
trast  between 
the  softly  lu¬ 
minous  figures 
and  the  dull 
black  sky  is 
charming.  One 
of  the  series, 
“The  Twelve 
Months  of  the 
South.” 


Size  lOxT1/,.  An  exceptionally  fine  impression,  in  superb  condi¬ 
tion. 


213 —  Shinobazu  Pond  in  Winter 

Across  the  delicately  drawn,  snowy  landscape  move  two 
women  and  a  boy;  the  ghostly  lavender  and  yellow  of 
their  inner  robes,  and  the  grey  of  the  sky,  form  a  most 
daring  contrast  to  the  intense  black  of  their  outer  gar¬ 
ments.  Nothing  could  well  be  more  tranquil  and  subtle 
than  this  design.  This  print  may  have  been  revamped ; 
the  writer  is  not  sure. 

Size  10x7 y2.  A  superb  impression,  in  beautiful  condition. 

214 —  The  Flower  Exhibition 

Two  graceful  girls  in  robes  of  soft  blues  and  purples 
stand  admiring  pots  of  flowers  in  an  open-air  booth.  A 
small  and  characteristic  Kiyonaga  jewel. 

Size  8i/ox6.  Superb  impression  and  condition. 


Kiyonaga 


First  Evening 


215 —  The  Actor’s  Prome¬ 

nade 

The  actor  Ichikawa 
Monnosuke  II,  in  robes 
of  black  and  pale  blue, 
is  walking  in  the  coun¬ 
try  with  a  purple- 
robed  woman.  Grey 
background.  Prints  of 
this  rare  type,  repre¬ 
senting  actors  in  pri¬ 
vate  life,  display  al¬ 
most  a  new  aspect  of 
Kiyonaga’s  powerful 
genius. 

Size  13x6.  An  extremely 
fine  impression,  in 
superb  condition. 

216 —  The  Departure 
Two  servants  attend 
on  a  courtesan  who  is 
just  coming  down  the 
steps  of  a  house. 

Size  9x6.  A  very  fine 
impression,  in  beautiful 
condition. 


217 — The  River  Gate 

Two  graceful  women,  in  robes  of  rose  and  purple,  stand 
at  a  garden-gate  that  opens  onto  the  Sumida  River. 
Two  children  play  beside  them.  The  drawing  of  the 
figures  is  fine  and  characteristic.  From  the  series,  “The 
Twelve  Months  in  the  Southern  Quarter,”  of  which  this 
represents  the  Second  Month. 

Size  10%x8.  A  fine  impression,  in  fine  condition. 


First  Evening 


Kiyonaga 


218 —  The  Temple  Stairs 
Descending  the  stone  stairs  of  a 
temple,  under  cryptomeria  trees, 
comes  the  gracious  figure  of  a  young 
girl.  Her  dull  violet  and  green 
robes  sweep  and  part  as  she  walks. 

*This  print,  formerly  the  prop¬ 
erty  of  M.  Pierre  Barboutau,  is  re¬ 
produced  in  Barboutau’s  “Biogra¬ 
phies  d’Artistes  Japonais,”  Vol.  II, 
Page  41.  It  is  also  reproduced  in 
the  Y.  I.  K.  Paris  Catalogue, 
“Kiyonaga,”  Plate  37.  Very  rare. 

A  pillar-print.  A  very  fine  impression , 
in  beautiful  condition. 

219 —  The  Letter  on  the  Veranda 

In  the  evening  dusk,  a  courtesan  in 
robes  of  splendid  green,  black,  and 
orange  stands  reading  a  letter, 
while  two  spies  also  inform  them¬ 
selves  of  its  contents.  The  subject 
is  the  same  Ronin  story  used  in 
No.  120. 

Another  copy  is  reproduced  in 
the  V.  I.  K.  Paris  Catalogue,  “Kiy¬ 
onaga  ,”  Plate  11. 

A  pillar-print.  A  superb  impression, 
in  superb  condition. 

220 —  The  New-Year’s  Robe 

A  graceful  courtesan  stands  poised, 
wearing  the  gay  rose  and  green  cos¬ 
tume  of  the  first  day  of  the  year. 
The  black  touches  of  her  outer  robe 
are  in  fine  contrast  with  the  light, 
bright  colors  of  the  rest  of  the  pic¬ 
ture. 

A  pillar-print.  A  superb  impression, 
in  most  flawless  and  brilliant  state. 


Kiyonaga 


First  Evening 


221 —  The  Snowy  Plum  Branch 

A  girl  in  robes  of  purple  and  rose 
stands  on  a  veranda  quietly  watch¬ 
ing  while  snowflakes  fall  across  a 
grey  sky.  The  modeling  of  the 
drapery,  which  reveals  so  subtly  the 
contours  of  the  body,  is  noteworthy. 

A  pillar-print.  A  superb  impression, 
in  flawless  condition. 

222 —  A  Geisha  and  Maid 

In  robes  of  pale  violet  and  orange, 
she  moves  along  the  street  followed 
by  her  servant,  who  carries  a  black- 
lacquer  samisen-box.  Every  line  of 
this  masterpiece  reveals  those  quali¬ 
ties  of  Kiyonaga’s  genius  that  make 
him  the  crowning  pinnacle  of 
Ukioye  art. 

^Reproduced  in  “Chats  on  Jap¬ 
anese  Prints,”  Plate  30.  Another 
copy  is  reproduced  in  the  V.  I.  K. 
Paris  Catalogue,  “Kiyonaga,” 
Plate  21. 

A  pillar-print.  A  superb  impression,  in 
beautiful  luminous  condition. 

223 —  Girl  With  Mirror 

In  robes  whose  simple  rose  and  grey 
and  violet  combine  into  the  utmost 
splendor  of  color,  her  lithe  figure 
stands  on  a  veranda  with  a  mirror 
in  her  hand. 

^Reproduced  in  “Chats  on  Jap¬ 
anese  Prints,”  Plate  30. 

A  pillar-print.  A  superb  impression  in 
flawless  condition. 


First  Evening 


Kl  YON AG A 


224 —  The  Cherry  Bough 

The  lordly  figure  of  a  woman  in  a 

black  robe  and  pale  yellow  obi.  No 

one  else  ever  quite  matched  this 

dignity  of  Kiyonaga’s. 

A  pillar-print.  A  fine  impression,  in 
good  condition. 

225 —  The  Summer  Evening 

Two  young  courtesans  in  pale 
robes ;  one  holds  a  fan,  the  other 
is  lying  under  a  mosquito-netting. 
Notable  for  its  force  of  line  and 
harmony  of  color.  A  very  impor¬ 
tant  and  rare  print. 

*This  print,  formerly  the  prop¬ 
erty  of  M.  Charles  Vignier,  is  re¬ 
produced  in  the  V.  I.  K.  Paris  Cat¬ 
alogue,  “Kiyonaga,”  Plate  37.  Fe- 
nollosa  wrote  of  this  design  :  “This 
is  a  specimen  of  Kiyonaga’s  most 
magnificent  line-drawing” ;  and 
dated  it  1783. 

A  pillar-print.  A  superb  impression, 
in  beautiful  condition. 

226 —  The  Brown  Robe 

A  standing  girl,  in  a  brown  robe 
and  pale  orange  girdle,  drawn  with 
the  utmost  simplicity.  An  older 
woman  is  seated  beside  her.  Here 
Kiyonaga,  carrying  restraint  and 
singleness  of  effect  to  its  farthest 
point,  achieves  one  of  his  master¬ 
pieces. 

^Reproduced  full  size  and  in  col¬ 
ors  in  Tajima’s  “Masterpieces  Se¬ 
lected  from  the  Ukioye  School,” 
Vol.  Ill,  Plate  88. 

A  pillar-print.  An  extremely  fine  im¬ 
pression,  in  good  condition. 


Kiyonaga 


First  Evening 


/. 


227 —  The  Idee  Broom 

A  man  in  pale  green  robes  stands 
reading  a  letter  which  a  girl  in  rich 
brown  robes  is  showing  him.  A 
broom  leans  against  his  arm.  The 
color  of  this  print  is  exceptionally 
splendid. 

This  is  another  frivolous  allusion 
to  a  venerable  Buddhist  legend, — 
that  of  the  two  poet-hermits,  Kan- 
zan  and  Jitoku.  Here  is  the  Broom 
of  Insight,  with  which  Jitoku  swept 
away  the  debris  of  mortal  troubles ; 
but  Kanzan’s  blank  scroll,  symboliz¬ 
ing  his  power  to  read  the  unwritten 
book  of  nature,  is  replaced  by  a 
gay  love-letter. 

A  pillar-print.  A  very  fine  impression , 
in  brilliant  condition. 

228 —  The  Wilrow  Bough 

A  stately  woman  in  pale  violet  robes 
stands  holding  a  large  open  um¬ 
brella.  The  delicately  indicated 
transparency  of  the  garments  is 
noteworthy. 

^Reproduced  in  Scribner’s  Mag¬ 
azine  for  March,  1916.  Another 
copy  is  illustrated  in  the  Metzgar 
Catalogue,  1916,  Plate  11.  Fenol- 
losa  writes  of  this  design  :  “This  is 
the  perfection  of  Kiyonaga’s  work 
up  to  this  date.  He  has  deliberately 
sacrified  the  fireworks  of  his  draw¬ 
ing  for  delicate  and  elegant  line,  like 
Shigemasa’s.  Here  we  strike  a  per¬ 
fect  and  restrained  beauty  of  pro¬ 
portion  that  we  may  call  classic.” 

A  pillar-print.  A  quite  exceptionally 
fine  impression,  in  very  fine  condition. 


First  Evening 


Kiyonaga 


229 — The  Serenade 

At  dusk,  under  a  full  moon,  the  lover  plays  his  flute  at 
the  gate ;  while  within  the  garden  the  beloved  in  her 
inner  chamber  sends  her  maidens  with  lanterns  to  dis¬ 
cover  who  is  the  player  of  the  haunting  melody. 

Rose,  purple  and  grey,  with  touches  of  black  and  dull 
green,  play  in  a  superb  mosaic,  out  of  which  rise  the 
Olympian  figures  of  this  most  characteristic  triumph  of 
Kiyonaga’s. 

The  story  which  the  picture  illustrates  is  one  of  the 
most  beautiful  of  Japanese  legends.  Prince  Yoshitsune, 
the  hope  of  the  Minamoto  faction  in  the  Twelfth  Century, 
is  wandering,  a  fugitive  from  his  enemies ;  when,  in  an 
enclosed  garden,  he  sees  the  young  noblewoman  Joruri- 
hime,  and  falls  in  love  with  her.  So  at  dusk  he  returns 
to  the  gate,  playing  upon  his  flute  such  melody  as  melts 
her  soul ;  and  she  goes  to  him  in  the  perilous  moonlight. 
Th  en  for  the  lovers  life  becomes  a  glorious  madness, — 
until  that  day  when  Yoshitsune  returns  to  lead  the  con¬ 
quering  hosts  of  the  Minamoto,  and  when  Jorurihime’s 
body  is  found  drifting  in  the  little  stream. 

'^Reproduced  in  “Art  and  Life”  for  October,  1919. 
Other  copies  of  this  print  are  reproduced  in  “Chats 
on  Japanese  Prints,”  Plate  29;  in  the  V.  I.  K.  Paris 
Catalogue,  “Kiyonaga,”  Plate  26 ;  in  the  Hayashi 
Catalogue,  Page  216;  and  in  Tajima’s  “Masterpieces 
Selected  from  the  Ukioye  School,”  Volume  III,  Page  89. 

A  triptych,  size  12y2x31.  Both  as  to  impression  and  condition, 
probably  the  finest  existing  copy  of  one  of  Kiyonaga’s  most 
famous  masterpieces.  Time  has  not  touched  its  luminous  bril¬ 
liance;  it  is  as  fresh  as  the  day  it  was  finished. 


Kiyonaga 


First  Evening 


No.  229— KIYONAGA.  THE  SERENADE 


First  Evening 


Kiyonaga 


230 — The  Blue  Robe  and  the  Black  Robe 

A  majestic  girl  in  a  pale  blue  robe  stands  beside  another 
girl  in  intense  black.  Behind  them  kneels  a  young  friend 
in  green  who  examines  her  lips  in  a  mirror.  One  of  the 
famous  series,  “Present-day  Beauties  of  the  Yoshiwara.” 

Size  15x10.  Beautiful  impression  and  condition. 


231 — The  Secret 

Beside  the  Sumida  River  a  young  girl  in  pale  robes  is 
whispering  to  an  older  woman,  while  a  child  watches  the 
stream.  A  graceful  and  colorful  design. 

Size  914x7%.  Fine  impression  and  condition. 


Kiyonaga 


First  Evening 


232 —  The  Black  Robe 

A  tall  slender  girl  in  a  black  robe  is  accompanied  by  a 
boy  and  two  women,  one  of  them  wearing  a  black  hood. 
One  of  the  series,  “Brocade  Pictures  of  the  Eastern  Cap¬ 
ital,”  which  contains  so  many  of  Kiyonaga’s  supreme 
achievements.  A  very  important  print. 

Size  14y2xl0.  Extremely  fine  impression  and  condition. 

233 —  The  Strong  Boy 

Kintoki,  the  legendary  strong  boy,  accompanied  by  a 
servant,  stands  on  the  seashore  waving  a  fan.  A  tour- 
de-force  in  powerful  brush-strokes. 

Size  15x10.  A  very  fine  impression,  in  flawless  condition. 


First  Evening 


Kiyonaga 


234 —  The  Wistaria  Arbor 

Under  hanging  blooms  of  white  wistaria  at  Kameido 
Temple,  the  stately  figures  of  three  women  in  pale  robes 
are  passing.  The  dignity  of  their  carriage  is  unsur¬ 
passed. 

Another  copy  of  this  print  is  reproduced  in  the  V.  I.  K. 
Paris  Catalogue,  “Kiyonaga,”  Plate  29. 

Size  15x10.  A  remarkable  impression  in  luminous  condition. 

235 —  A  Courtesan  and  Attendants 

The  famous  and  aristocratic  Hana-Ogi  of  Ogi-ya,  parad¬ 
ing  with  four  attendants  in  robes  of  rose  and  green. 
^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  25. 
Size  15x10.  Fine  impression  and  condition. 


Kl  YON AG A 


First  Evening 


23 6 — -The  Balcony 

Three  women  on  a  balcony.  The  one  on  the  left  is  in 
blue ;  the  middle  one  in  black ;  and  the  one  on  the  right  in 
grey.  Rarely  does  Iviyonaga  display  such  a  variety  of 
attitudes  as  in  these  figures,  or  such  skill  in  expressing 
pose  and  movement. 

Size  12x814.  A  superb  impression,  in  brilliant  condition. 


First  Evening 


Kiyonaga 


237 — The  Happy  Garden 

A  scene  in  a  garden  of  cherries,  rocks,  and  pines,  where 
four  young  women  are  preparing  a  kind  of  confectionery. 
The  soft  clear  pinks  and  greens,  and  the  simply  drawn 
suave  figures,  are  full  of  repose  and  distinction. 

Size  15x10.  A  'perfect  impression,  in  flawless  condition. 


Kiyonaga 


First  Evening 


238 — The  Sumida  River  Embankment 

Against  a  background  of  blue  river  and  grey  evening 
sky,  two  very  slender  girls  are  walking  along  the  em¬ 
bankment,  followed  by  an  older  woman.  Their  dark  red 
and  purple  robes  are  swept  back  in  long  folds  by  the 
wind  of  their  movement. 

One  of  the  rarest  and  most  famous  masterpieces  of 

Kiyonaga’s  later  prime.  Other  copies  are  reproduced  in 

the  V.  I.  K.  Paris  Catalogue,  “Kiyonaga,”  Plate  36 ;  and 

in  the  British  Museum  Catalogue,  Page  126. 

Size  15y2xl0i/2.  A  brilliant  impression,  in  superb  and  flawless 
condition,  with  colors  at  full  strength. 


First  Evening 


Shuncho 


SHUNCHO 

Worked  c.  1775-1800 

239 — Mansion  Opening  Onto  a  Garden 

The  scene  is  the  ladies’  appartments  of  a  nobleman’s 
Yashiki.  Twelve  ladies,  in  robes  of  glowing  rose,  green, 
black,  orange,  and  purple,  are  scattered  about  the  large 
rooms  flooded  with  light.  They  are  arranging  flowers, 
or  chatting,  or  viewing  the  beauties  of  the  garden  where 
cherry  trees  bloom  above  a  stream.  A  brilliant  scene  of 
rich  color. 

Triptych,  size  15x30.  An  impression  of  the  finest  quality;  in 
flawless,  untouched  and  luminous  condition. 


240 — The  Village  by  the  River 

A  girl  in  a  yellow  robe  with  long  swinging  sleeves  stands 
with  her  companions  on  high  ground  beside  a  river. 

Size  15x10.  Excellent  impression  and  condition. 


241 — The  Wistaria  Arbor 

A  group  of  women  and  children,  in  robes  whose  blues, 
reds,  and  greens  make  a  riot  of  color,  are  passing  under 
an  arbor  of  purple  wistarias.  Pale  yellow  background. 
The  brilliance  of  this  print  is  remarkable. 

Size  15x10.  A  superb  impression,  in  flawless  and  wholly  un¬ 
altered  condition. 


242 — Girl  in  Black  Robe 

A  delicately  drawn  girl  in  a  black  robe,  accompanied  by 
two  women  and  a  man,  passes  toward  the  left.  No 
background.  Formerly  in  the  Hayashi  Collection. 

Size  10x7i/2.  A  beautiful  impression,  in  beautiful  condition. 


niimimiuniiinniii  iiiiimiiiimiin  m»ii  imiiiimiii'.iiimmiu^..  imiuiimimi  iiiiiiiiiiiiiiiiiiiiiimii 


Shuncho 


First  Evening 


No.  239— SHUNCHO.  MANSION  OPENING  ONTO  A  GARDEN 


First  Evening 


Shuncho 


243 — The  Chrysanthemum  Festival  Day 

The  princess-like  courtesan,  Katano  of  Ogi-ya,  in  the 
brilliant  rose  and  gold  splendor  of  festal  attire,  followed 
by  her  attendants.  The  richness  of  the  colors  against 
the  pale  grey  background  is  notable. 

Formerly  in  the  Appleton  Collection. 

Size  15x10.  A  matchless  impression,  in  all  the  untouched  bril¬ 
liance  of  its  original  state. 


Shuncho 


First  Evening 


244 — The  Boy’s  Festival  Day 

The  regal  courtesan  Sejama  of  Matsuba-ya,  in  the  bril¬ 
liant  purple  and  yellow  of  festal  attire,  followed  by  her 
attendants.  The  richness  of  the  colors  against  the  pale 
grey  background  is  remarkable. 

Formerly  in  the  Appleton  Collection. 

Size  15x10.  A  matchless  impression,  in  all  the  untouched  bril¬ 
liance  of  its  original  state. 


First  Evening 


Shuncho 


245 —  A  Bench  in  the  Countryside 

A  girl  in  flowing  robes  of  rose  stands  beside  a  bench  on 
which  sit  her  two  girl-companions.  Streams  and  fields 
form  the  background. 

Size  15x10.  A  superb  impression,  in  flawless  condition. 

246 —  A  Group  of  Courtesans 

Two  courtesans  and  their  five  attendants  form  a  group 
of  soft  splendid  color  against  the  dull  grey  background. 

Size  15x10.  An  extremely  fine  impression,  in  beautiful  condition. 


Shuncho 


First  Evening 


247 —  Three  Women  in  Grey 

Against  a  pale  yellow  background,  which  is  the  only 
touch  of  color  in  the  picture,  three  women  move  slowly 
along  a  cherry-blossom  hillside.  Their  robes  are  a 
symphony  of  greys. 

Size  101/2x71/2.  An  almost  matchless  impression,  in  flawless  con¬ 
dition. 

248 —  Boat  on  the  Sumida  River 

With  the  far  shore  of  the  Sumida  River  as  a  barely- 
suggested  background,  two  graceful  girls  are  standing 
in  robes  of  purple  and  rose. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  33. 

A  pillar-print.  A  fine  impression  in  good  condition. 


First  Evening 


Shuncho 


249 — Cherry  Viewing  at  Gotenyama 

Two  young  girls  in  robes  of  pale 
violet  and  rose  are  looking  up  at 
the  pink  of  the  cherry-blossoms 
overhead,  with  the  yellow  of  the 
hills  and  the  blue  of  the  sea  behind 
them.  The  two  figures  seem  to 
blend  with  their  surroundings  in  a 
mood  of  lyrical  happiness. 

A  'pillar-print.  A  fine  impression,  in 
luminous  condition. 


250 — Courtesan  Beside  Mosquito — 
Netting 

The  tall  purple  figure,  of  the  heroic 
Kiyonaga  type,  stands  just  outside 
the  green  mosquito  netting  sus¬ 
pended  over  her  bed. 

A  pillar-print.  Very  fine  impression 
and  condition.  Slightly  toned. 


251 — Two  Ladies  Under  Umbrella 

The  two  delicate  and  exquisite 
figures  stand  under  a  willow  branch, 
together  holding  up  the  umbrella. 

^Reproduced  in  “Chats  on  Japa¬ 
nese  Prints,”  Plate  32. 

A  pillar-print.  A  very  fine  impression 
in  faded  hut  beautiful  condition. 


Shuncho 


First  Evening 


252 —  The  Pink  Fan 

A  woman  in  translucent  robes  of 
black  stands  holding  a  pink  fan  and 
a  blue  umbrella. 

A  pillar-print.  A  fine  impression,  in 
fine  condition. 

253 —  The  Chrysanthemum  Robe 

A  lady  in  a  pale  blue  robe  stands 
under  a  leafy  branch.  The  calm 
and  dignity  of  her  figure  are  not¬ 
able. 

A  pillar-print.  A  very  fine  impression, 
considerably  faded. 

254 —  Courtesan  Under  Cherry  Bough 
In  robes  of  pale  purple  and  rose, 
with  her  green-clad  little  attendant 
behind  her,  she  stands  as  calm  and 
brilliant  as  the  cherry  flowers  them¬ 
selves. 

A  pillar-print.  A  fine  impression  in 
fine  luminous  condition. 

255 —  Window  by  the  River 
Hana-ogi  of  Ogi-ya,  the  most  re¬ 
nowned  and  beautiful  courtesan  of 
her  time,  stands,  in  robes  of  blue 
and  rose,  before  a  latticed  window 
that  looks  out  upon  the  blue  Sum- 
ida  River.  This  is  one  of  the  most 
regal  figures  that  Shuncho  ever 
drew. 

^Reproduced  in  “Chats  on  Jap¬ 
anese  Prints,”  Plate  32. 

A  pillar-print.  A  remarkably  fine  im¬ 
pression,  in  superb  condition. 


First  Evening 


Shuncho 


256 —  The  Gold  Obi 

A  courtesan  in  robes  of  black  stands 
before  a  pale  grey  and  yellow  back¬ 
ground.  Her  gorgeous  obi  and  the 
edges  of  her  robe  are  printed  in 
pure  metallic  gold-bronze — a  most 
unusual  and  effective  piece  of  tech¬ 
nique  which  appears  in  no  other 
known  pillar-print,  so  far  as  has 
been  observed.  Very  rare. 

A  pillar-print.  A  superb  impression, 
in  flawless  and  brilliant  condition. 

257 —  The  Lantern 

A  young  servant  carrying  a  lantern 
follows  her  young  mistress  through 
the  street.  A  small  sheet,  touched 
with  all  the  charm  of  Shuncho’s 
larger  designs. 

Size  9x6.  A  superb  impression,  in 
flawless  condition. 

258 —  Among  Rice  Fields 

Two  women  and  two  girls  stand  on 
a  road  in  the  country.  Their  sim¬ 
ple  robes  are  of  rich,  harmonious 
color. 

Size  15x10.  A  very  fine  impression  in 
excellent  condition. 

259 —  Bringing  in  the  Tray 

In  a  kaleidoscope  of  blue  and  orange 
and  green,  three  ladies  and  two  girls 
divert  themselves  in  a  large,  bril¬ 
liant  room. 

Size  15x10.  A  superb  impression  in 
flawless  and  luminous  condition. 


Shunzan 


First  Evening 


SHUNZAN 

Worked  c.  1780-1800 

260 —  After  the  Bath 

A  girl  in  a  white  bath-robe  spotted 
with  purple  stars  is  seated  at  the 
edge  of  a  veranda  drying  her  ear. 
Behind  her  stands  another  girl  in 
loose  robes  of  blue  and  rose.  Grey 
background.  The  colors  of  this  ex¬ 
ceptional  work  are  highly  individual 
and  striking. 

A  pillar-print.  A  uniquely  fine  impres¬ 
sion,  in  flawless  and  immaculate  condi¬ 
tion. 

261 —  Actor  With  Basket  Hat 

An  actor  in  luminous  violet  robes 
stands  before  a  window  where 
cherry-blossoms  show  against  a  blue 
sky.  An  early,  rare,  and  fine  work. 

Size  11x5.  A  superb  impression,  in 
brilliant  condition. 


O 


First  Evening 


Shunzan 


262— Sumida  River  Festival 

On  a  summer  evening  of  festival,  when  gay  boats  crowd 
the  Sumida  River,  this  group  of  young  men  and  women 
are  idling  at  a  tea-house  on  the  shore.  The  variety  and 
grace  of  their  attitudes,  the  rich  kaleidoscope  of  colors 
in  the  different  robes,  and  the  drawing  of  the  draperies, 
combine  to  make  this  one  of  Shunzan’s  masterpieces. 

Another  copy  is  reproduced  in  the  Hayashi  Catalogue, 
Page  170. 

A  triptych,  size  15x30.  A  matchless  impression,  in  wholly  flaw¬ 
less  and  magnificent  condition. 


YUMIAKI 

Worked  c.  1780-1790 

263 — The  Stair 

A  girl  in  pale  robes  is  mounting  a  stair,  to  where  an¬ 
other  girl  sits  talking  to  a  man  whose  shadow  appears 
on  the  screen.  A  curious  and  rare  print,  by  an  almost 
unknown  artist.  The  line-work  carries  Kiyonaga’s 
vigor  of  brush-stroke  to  extraordinary  lengths. 

A  pillar-print.  Very  fine  impression  and  condition. 


KITAO  MASANOBU 

1761-1816 

264t — The  Umbrella 

A  woman  in  black  robes  decorated  with  pale  blue  and 
rose  circles  is  holding  up  a  green  umbrella.  She  is  at¬ 
tended  by  a  man-servant  in  brown  and  green.  A  quiet 
and  decorative  design. 

A  pillar-print.  Very  fine  impression  and  condition. 

265 — A  God  of  Good  Luck 

The  god  Fukurokuju  looks  over  the  shoulder  of  a  pur¬ 
ple-robed  girl,  as  she  holds  up  a  kakemono. 

A  pillar-print.  Superb  impression  and  condition. 


Shunzan 


First  Evening 


No.  262— SHUNZAN.  SUMIDA  RIVER  FESTIVAL 


First  Evening 


Kitao  Masanobu 


266 — Three  Girls  and  a  Kitten 

The  exquisite  geisha  Yamashita  Hana,  in  a  transparent 
black-gauze  robe  and  green  girdle,  is  playing  with  a 
kitten.  Behind  her  stands  a  companion  in  pale  summer 
garments ;  while  a  second  companion  sits  at  her  feet. 

Few  known  prints  display  such  mastery  of  the  differ¬ 
ent  textures  of  draperies  as  this.  It  is  one  of  the  most 
famous  masterpieces  of  this  rare  artist.  Another  copy 
is  reproduced  in  the  Appleton  Catalogue,  1910,  No.  192. 

Size  15x10.  A  superb  impression,  in  brilliant  and  beautiful  con¬ 
dition. 


Shunman 


First  Evening 


SHUNMAN 

1757-1820 

267 — The  Shower 

Holding  up  a  large  blue  umbrella, 
a  tall  girl  in  rose  and  black  is  walk¬ 
ing  along  the  river-bank  in  a  gusty 
shower  of  rain.  A  fine  design,  of 
the  utmost  rarity. 

A  pillar-print.  A  superb  impression,  in 
superb  condition. 


268 — The  Maple  Tree 

Two  women  in  robes  of  pure  grey 
are  pausing  beneath  a  maple-tree 
where  hang  a  few  bright  autumn 
leaves.  The  standing  figure  is  one 
of  strange  ghostly  grace ;  both 
have  a  fascinating  pale  unreality. 
Shunman’s  harmonies  in  grey  are 
rare  and  famous. 

^Reproduced  in  “Chats  on  Jap¬ 
anese  Prints,”  Plate  45. 

A  pillar-print.  Very  fine  impression 
and  condition. 


i/ / » 


First  Evening; 

O 


Shunman 


269 — The  Tama  River  of  Koya 

Three  women,  all  in  grey,  are  traveling  along  a  road ; 
one  stoops  to  tie  her  sandal.  The  only  color  consists  of 
vague  touches  of  green  and  yellow  in  the  background, 
resulting  in  a  landscape  that  is  as  ghostly  and  pale  as 
the  figures. 

This  and  the  following  print  are  from  Shunman ’s 

masterpiece,  the  six-piece  composition,  “The  Tama- 

gawa.”  Other  copies  are  reproduced  in  the  Japanese 

translation  of  “Chats  on  Japanese  Prints” ;  in  the  V.  I.  K. 

Paris  Catalogue,  “Yeishi,”  Plate  41  ;  and  in  the  British 

Museum  Catalogue,  Page  144.  Very  rare. 

Size  15x10.  A  superb  impression,  in  flawless  and  luminous  con¬ 
dition. 


Shunman 


First  Evening 


270 — The  Tama  River  of  Chofu 

A  girl  is  washing  long  strips  of  linen  in  the  stream, 
while  a  youth  and  two  ladies  look  on.  All  the  robes  are 
grey ;  the  landscape  is  faintly  touched  with  green  and 
yellow.  See  the  preceding  number.  Very  rare. 

Other  copies  are  reproduced  in  the  Waida  Catalogue, 
Amsterdam,  1909,  No.  296;  and  in  Succo’s  “Toyokuni,” 
Vol.  I,  Plate  13. 


Size  15x10.  A  marvelously  delicate  impression,  in  flawless  and 
luminous  condition. 


First  Evening 


Choki 


CHOKI 

Worked  c.  1785-1810 

271 — The  Tanabata  Festival 

A  girl  robed  in  transparent  grey  is  hanging  festival 
ornaments  on  a  bamboo  tree,  while  a  youth  simultane¬ 
ously  helps  her  and  makes  love  to  her.  Soft,  clear  colors 
against  a  pale  grey  background.  A  very  fine  and  rare 
print. 

Size  15x10.  A  notable  impression,  in  flawless  condition. 


Choki 


First  Evening 


272 —  The  Black  Box 

A  servant  with  a  lantern  carries  a  black  samisen-box; 
behind  her  follows  her  mistress,  a  geisha. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  46. 
A  pillar -print.  Extremely  fine  impression  and  condition. 

273 —  Courtesan  and  Her  Lover 

She  stands  biting  the  edge  of  her  robe,  which  falls  in 
long,  fine  folds. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  46. 
Another  copy  is  reproduced  in  the  V.  I.  K.  Paris  Cata¬ 
logue,  “Yeishi,”  Plate  24. 

A  pillar-print.  A  fine  impression  in  good  condition. 

274 —  Courtesan  and  Attendant 

Robed  in  violet  and  grey,  they  pass  toward  the  right, 
at  a  chrysanthemum  show. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  45, 
with  the  remark:  “The  face  and  figure  seem  at  first 
sight  almost  purely  of  the  Kiyonaga  variety ;  but  on 
closer  examination  differences  appear;  and  most  striking 
of  all  is  the  fact  that  the  color-scheme  is  that  peculiar 
combination  of  yellow,  grey,  violet,  blue,  and  black  which 
was  distinctive  of  some  of  Yeishi’s  finest  work.” 

A  pillar-print.  Extremely  fine  impression  and  condition. 


3 


YEISHI 

Worked  c.  1780-1800 


275 — Poetesses  (Three  Prints) 

In  costumes  of  ancient  times,  they  float  in  the  midst  of 
a  whirlwind  of  jeweled  color,  their  black  hair  in  vivid 
contrast  to  their  luminous  robes.  This  and  the  follow¬ 
ing  numbers  are  sheets  from  Yeishi’s  famous  album, 
“The  Thirty-six  Poetesses.”  They  are  purely  and  sim¬ 
ply  delirious  dissipations  in  delicate  color;  as  such,  they 
have  no  equal. 

Size  10x7y2  each.  Matchless  impression  and  state. 


276 —  Poetesses  (Three  Prints) 

277 —  Poetesses  (Two  Prints) 

278 —  Poetesses  (Two  Prints) 


i/O 


2,7  " 


First  Evening 


Yeishi 


279 — Passage  of  the  Sumida  River 

A  tall  lady  in  a  black  robe  with 
rose-colored  girdle  stands  in  a  boat 
on  the  Sumida  River.  A  compan¬ 
ion  in  a  rose-colored  robe  sits  at  her 
feet.  This  represents  Yeishi’s  most 
serene  and  dignified  style,  touched 
by  the  influence  of  Kiyonaga. 

A  pillar-print.  A  very  fine  impression, 
in  yood  condition. 


280 — On  the  Veranda 

A  woman  in  a  black  summer  robe 
with  rose-colored  girdle  is  hanging 
up  a  bowl  of  gold-fish.  The  gauzy 
garment  reveals  the  lines  of  her 
body ;  the  transparency  is  finely 
rendered.  At  her  feet  sits  a  girl  in 
cool  green  and  white. 

A  pillar-print.  An  exceptionally  fine 
impression  in  flawless  condition. 


281 — The  River  Gate 

A  slender  girl  in  brilliant,  translu¬ 
cent  robes  of  white  and  rose  stands 
outside  a  gate  on  the  river-bank. 
Another  copy  is  reproduced  in  the 
Japanese  translation  of  “Chats  on 
Japanese  Prints.” 

A  pillar-print.  Superb  impression  and 
condition. 


o 


Yeishi 


First  Evening 


282 — The  Saki-Cup  Tree 

A  standing  woman  in  pale  purple,  and  a  seated  woman 
in  black,  yellow,  and  rose,  appear  against  a  faint  yellow 
background.  Behind  them  hangs  an  ornament  on  which 
saki-cups  are  placed  as  if  they  were  the  blossoms  of  a 
tree.  Both  the  drawing  of  the  figures  and  the  color  are 
exceptionally  fine. 

Size  15x10.  A  remarkably  fine  impression  in  flawless  and  lum¬ 
inous  condition. 


First  Evening 


283 — The  Treasure  Ship 


Y  EISHI 


H  4" 


f 

./s' 


“Among  Yeishi’s  triptychs,  ‘The  Treasure  Ship’  is  espe¬ 
cially  notable.  In  this  print,  a  barge  whose  prow  is 
shaped  like  the  head  and  breast  of  the  mythical  Hoho 
bird  seems  adrift  on  a  river  of  peace;  its  wonderful 
freight, — nine  noble  ladies  engaged  in  the  refined  enter¬ 
tainments  of  paintings,  games,  and  poetry, — express  the 
nostalgia  of  Watteau’s  figures  and  the  line-beauty  of 
Botticelli’s.  The  repose  of  heaven  is  upon  them,  and 
the  delicate  satiety  of  heavenly  beings.” — (“Chats  on 
Japanese  Prints.”) 

A  triptych,  size  15x30.  A  fine  impression,  in  fair  condition. 


284 — Lady  With  Tobacco  Pipe 

In  luminous  robes  of  rose  and  purple,  she  kneels  beside 
a  brazier.  Pale  yellow  background. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate 
36,  with  the  comment:  “Yeislii  produced  a  considerable 
number  of  notable  full-size  sheets  depicting  single  fig¬ 
ures  of  women  seated  or  kneeling.  Some  of  these  are 
without  background;  others  have  backgrounds  of  pale 
grey;  while  still  others,  perhaps  the  finest  of  all,  stand 
out  against  luminous  yellow  grounds.  In  these  prints 
is  displayed  Yeishi’s  power  to  draw  exquisitely  the  long, 
sweeping  curves  of  draperies ;  and  the  strangely  pensive, 
hieratic  quality  of  his  faces  is  at  its  best.” 

Reproduced  also  in  “Asia”  for  July,  1919.  Formerly 
in  the  Hayashi  Collection. 

Size  15x10.  A  superb  impression,  in  flawless  and  luminous  con¬ 
dition. 


0\ 


o 


285— Three  Ladies  by  the  Seashore 

“These  figures  are  wholly  in  the  Kiyonaga  manner,  ex-  y  g 
cept  that  they  have  a  touch  of  fragility  and  delicacy 
that  is  alien  to  Kiyonaga.” 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  35. 

Size  15x10.  A  fine  impression;  the  colors  have  almost  entirely 
vanished,  leaving  a  pure  black-and-white  effect. 


Yeishi 


First  Evening 


No.  283— YEISHI.  THE  TREASURE  SHIP 


First  Evening 


Yeishi 


286 — Beside  the  River 

Three  women  are  grouped  around  a  tub.  Colored 
chiefly  in  grey,  with  some  hints  of  blue  and  pale  yellow. 
One  of  the  “Seven  Komaehi”  Series. 

“Yeishi  was  one  of  the  few  painters  beside  Shunman 
who  successfully  managed  grey  as  a  dominant  tone.  In 
certain  of  his  prints  he  produced  notable  results  in  this 
manner,  using  a  style  in  which  lights  of  yellow  and  pur¬ 
ple  are  arranged  with  beautiful  effect.” — (“Chats  on 
Japanese  Prints.”) 

Size  15x10.  An  exceptionally  fine  impression,  in  beautiful  con¬ 
dition. 


Yeishi 


First  Evening 


287 — A  Poetess 

Dressed  in  brilliant  black,  she  sits  pensive ;  behind  her  is 
a  pale  yellow  background.  A  fine  and  characteristic 
figure. 


Size  15x10.  An  exceptionally  fine  impression,  in  most  beautiful 
condition. 


First  Evening 


Yeishi 


288— The  Reconciliation  With  Prince  Genji 

This  is  one  of  the  famous  series  of  triptychs  entitled 
“Furyu  Yatsushi  Genji,”  or  Stylish  Transformed  Genji 
Monogatari,  in  which  scenes  from  the  classical  romance 
Genji  Monogatari  are  presented  with  women  of  Yeishi’s 
own  time  dressed  in  the  current  fashions  of  the  day,  put 
in  place  of  the  tenth-century  nobles  described  in  the 
ancient  tale.  The  subject  of  this  print  is  the  reconcilia¬ 
tion  between  Prince  Genji  and  an  old  friend  from  whom 
he  had  been  estranged ;  but  instead  of  a  nobleman  com¬ 
ing  to  call  upon  the  prince,  preceded  by  an  attendant 
bearing  as  a  symbol  of  friendship  a  branch  of  wistaria 
with  the  figure  of  a  swallow  perched  upon  it,  \  eishi 
shows  a  richly  dressed  woman  of  the  middle  class  coming 
forward  from  a  court  wagon,  surrounded  by  a  number 
of  women-attendants,  one  of  whom  offers  the  peace-sym¬ 
bol  to  the  prince.  There  is  therefore  in  the  picture  the 
same  kind  of  intentional  confusion  of  subject  that  would 
result  were  a  modern  artist  to  represent  for  us  the  Cin¬ 
derella  story  by  means  of  figures  from  contemporary 
society. 

A  triptych,  size  15x30.  A  very  fine  impression,  in  perfect  and 

exceptionally  soft-colored  state. 


289 —  Kneeling  Girl 

Against  a  pale  yellow  background  her  delicate  figure 
poises,  robed  in  purple,  with  a  girdle  of  yellow  and  green. 
All  of  Yeishi’s  characteristic  grace  is  in  this  figure. 

Size  9x7.  An  extremely  beautiful  impression,  in  flawless  con¬ 
dition. 

290 —  The  Bronze  Gong 

Beside  a  large  bronze  gong  kneels  a  lady  in  gauzy  black. 
Near  her  stands  another  very  tall,  slender  lady  in  vio¬ 
let.  This  print  well  illustrates  \  eishi’s  later  manner, 
when  he  sought  for  an  unearthly  attenuation  in  his 
figures. 

Size  15x10.  An  extremely  sharp  and  fine  impression,  in  very 
fine  condition. 


Yeishi 


First  Evening 


No.  288.  YEISHI.  THE  RECONCILIATION  WITH  PRINCE  GENJI 


First  Evening 


Yeishi 


291 — The  Princess’  Cherry  Festival 

In  the  midst  of  a  cloud  of  pale  pink  cherry-blooms,  a 
princess  sits  in  a  bullock-cart,  surrounded  by  her  ladies- 
in-waiting.  These,  robed  in  pale  green,  pale  rose,  pale 
grey,  or  pale  lavendar,  move  in  a  splendor  of  varied 
color  and  delicate  line  that  charms  and  bewilders  the  eye. 
Yeishi’ s  aristocratic  refinement  of  temper,  and  his  love 
of  the  gracious  and  harmonious,  find  full  expression  here. 

A  triptych,  size  15x30.  A  remarkably  delicate  impression,  in 
flawless  and  luminous  state. 


292 — The  Snowy  Pine 

Three  ladies  on  a  veranda  are  looking  down  on  a  snowy 
pine  branch. 

Size  10x7 y2.  Extremely  fine  impression  and  condition. 


293 — The  Riverside 

A  group  of  travelers, — two  women  and  a  man  in  a  sedan 
chair, — pause  on  the  river  bank. 

Size  10x7%.  Extremely  fine  impression  and  condition. 


294 — Three  Ladies  on  a  Veranda 

In  robes  of  black,  purple,  blue,  and  rose,  three  ladies 
stand  grouped  on  a  veranda.  Behind  them  lies  a  garden 
and  a  little  stream.  Both  in  design  and  color,  this  is 
one  of  Yeishi’s  small  masterpieces. 

Size  10x7.  An  impression  of  exceptional  softness  and  delicacy, 
in  flawless  condition. 


Yeishi 


First  Evening 


No.  291— YEISHI.  THE  PRINCESS’  CHERRY  FESTIVAL 


First  Evening 


Yeishi 


295 — The  Boat  and  the  Willow 

A  court  lady  of  olden  time,  in  flowing  robes  touched 
with  sparing  notes  of  color,  sits  in  a  boat  under  a  willow- 
bough.  The  tone  of  the  picture  is  grey ;  and  in  the  ar¬ 
rangement  of  its  few  and  simple  touches  is  an  order  of 
genius  that  speaks  of  a  wholly  different  world  than  the 
world  of  prints. 

Few  examples  of  this  side  of  Yeishi  are  known.  Paint¬ 
ings  by  him  are  not  uncommon,  but  they  are  principally 
in  the  style  of  the  prints.  This,  however,  is  purely  in 
the  style  of  the  great  classical  tradition.  Yeishi  was 
originally  a  noble  of  high  rank  who  studied  under  Kano 
Yeisen,  the  court  painter;  he  was  attached  in  youth  to 
the  household  of  the  Shogun.  Out  of  this  stronghold 
of  tradition  he  eventually  fled  to  take  up  the  vie  de 
Boheme  of  a  painter  of  the  popular  school,  and  as  such 
made  his  great  fame.  But  this  painting  is  the  work  of 
the  earlier,  classical  Yeishi, — the  elegant  court  gentle¬ 
man, — the  heir  of  the  traditions  of  two  thousand  years. 

The  subject  is  the  lady  Asazuma,  mistress  of  the  Sho- 
gun  Iyetsuma,  who  in  the  Fujiwara  Epoch  neglected 
the  cares  of  government  for  endless  boating  parties  in 
her  company.  She  is  always  represented  thus, — in 
marvelous  robes  drifting  alone  amid  the  peace  of  the 
waters. 

As  a  composition,  the  simplicity  and  subtlety  of  this 
painting  are  perhaps  finer  than  anything  Yeishi  ever 
did  in  the  Ukioye  manner. 

A  painting,  size  32x12,  mounted  on  a  kakemono,  size  64x17.  In 

excellent  condition. 


Yeishi 


First  Evening 


No.  295— YEISHI.  THE  BOAT  AND  THE  WILLOW 


First  Evening 


Yeishi 


T  o  understand 
the  significance 
of  this  remark¬ 
able  sheet,  one 
must  observe 
that  it  is  not  a 
print  but  a  paint¬ 
ing  produced 
from  a  printed 
key-block  impres¬ 
sion.  As  is  well 
known,  the  art- 
tist’s  original  de¬ 
sign  was  in  black 
and  white  only. 
When  the  key- 
block  had  been 
cut  from  this,  and 
an  impression  had 
been  taken,  the 
artist  evidently 
then  proceeded  to 
take  his  brush  in 
hand  again  and  invent  the  color-design  for  the  future 
print.  This  is  such  a  design,  from  the  hand  of  Yeishi 
himself,  giving  his  instructions  to  the  engraver  for  the 
next  step  toward  the  production  of  the  finished  print. 

Nothing  like  it  has  ever  come  to  the  attention  of  the 
most  experienced  of  French  and  American  collectors. 
One  may  therefore  presume  that  few  others  have  sur¬ 
vived.  This  sheet,  and  the  two  others  which  follow,  were 
discovered  a  year  ago  in  an  obscure  book-stall  in  Paris ; 
the  vendor,  quite  ignorant  of  their  nature,  recommended 
them  highly  as  “real  Chinese  paintings,  at  least  a  thou¬ 
sand  years  old !” 

Size  9x6y2.  In  extremely  fine  condition. 


296 — Two  Ladies 
By  a  Torii 


297 —  Two  Women  and  a  Child 

The  same  kind  of  painting  by  Yeishi  as  the  preceding. 

298 —  Two  Ladies 

The  same  as  preceding. 


Yeisho 


First  Evening 


YEISHO 

Worked  c.  1785-1800 

299 — Large  Head 

Portrait  of  a  woman  in  a  white  bath-robe  touched  with 
purple.  The  finely  drawn  black  masses  of  her  hair,  the 
simple  curves  of  her  drapery,  and  the  outline  of  her 
poised  head  all  lend  a  distinguished  quality  to  this 
design.  Very  rare. 

Size  15x10.  A  superb  impression  in  superb  condition. 


First  Evening 


Yeisho 


300 —  The  Investiture  of  a  Prince 

A  young  prince,  at  the  time  of  his  coming  of  age,  is  be¬ 
ing  invested  with  the  sword  and  other  symbols  of  his 
majority.  The  attendants  are  superbly  robed  ladies. 
In  its  rich  translucency  of  color,  this  is  one  of  the  finest 
known  copies  of  a  famous  print. 

A  triptych,  size  15x30.  An  almost  matchless  impression,  in 
flatvless  condition. 

301 —  Woman  With  Book 

In  a  robe  of  highly  decorative  black  and  rose,  she  sits 
with  a  book  in  her  lap,  before  a  pale  grey  background. 
Size  13x8y2.  Extremely  fine  impression  and  condition. 

302—  Youth  and  Girl  on  Veranda 

She  is  seated,  holding  a  pipe ;  he  stands  beside  her.  Both 
graceful  figures  are  chiefly  dominated  by  a  peculiar  pale 
purple  which,  against  the  pale  grey  background,  makes 
an  unusual  color-scheme. 

Size  13x9.  An  extremely  fine  impression,  in  flawless  condition. 

303 —  Girl  With  Print 

A  standing  girl  is  holding  up  a  color-print  in  the  style 
of  Yeisho  himself;  another  girl  in  richly  colored  robes 
sits  at  her  feet. 

A  pillar-print.  Unsigned.  Fine  impression  and  state. 

304 —  The  Balcony 

A  standing  girl  in  blue  and  rose,  and  a  seated  girl  in 
yellow,  are  looking  down  from  a  balcony. 

A  pillar-print.  Excellent  condition  and  impression. 

305 —  After  the  Bath 

Two  semi-nude  girls,  with  blue  bath-robes  thrown  around 
them,  are  completing  their  toilets.  A  distinguished  print, 
both  in  drawing  and  color. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate 
33.  Another  copy  is  reproduced  in  the  Hayashi  Cata¬ 
logue,  Page  180. 

A  pillar-print.  Exceptionally  fine  impression  and  condition. 


Yeisho 


First  Evening 


No.  300— YEISHO.  INVESTITURE  OF  A  PRINCE 


First  Evening 


Yeisho 


306 —  Large  Head 

A  girl  with  elaborate  coiffure  of  transparent  combs 
holds  up  a  red  saki  cup.  Pale  blue  background. 

Size  15x10.  Fine  impression  and  condition. 

307 —  The  Wistaria  B  ranch 

A  graceful  girl  in  pale,  sweeping  robes  stands  under 
wistaria  flowers,  holding  up  a  fan. 

A  pillar-print.  Fine  impression  and  condition. 


Yeisho 


First  Evening 


308 —  Girl  in  a  Storm 

In  black  robes  she  sweeps  along 

under  a  raised  umbrella ;  while, 

above,  the  Storm  God  in  a  whirl 

of  cloud  beats  his  drums.  A  very 

rare  and  distinguished  print. 

A  pillar-print.  A  superb  impression 
in  flawless  condition. 

309 —  The  Cherry  Branch 

A  courtesan  in  robes  of  excep¬ 
tional  splendor  stands  with  her 
small  attendant  under  cherry 
flowers. 

A  pillar-print.  A  superb  impression 
in  beautiful  condition. 


YEISUI 

Worked  c.  1785-1810 

310 — Large  Head 

A  woman  in  pale  pink  and  green 
robes  is  adjusting  a  hair-pin; 
she  holds  a  transparent  fan  in 
her  hand. 

Size  15x10.  An  exceptionally  fine 
impression,  in  flawless  state. 


REKISENTI  YEIRI 

Worked  c.  1785-1810 

311 — Rustic  Scene 

A  tall  woman  and  two  children 

stand  on  a  country  road.  Behind 

them,  a  landscape  of  fields  and 

far  mountains  is  rendered  with 

great  originality.  A  rare  print. 

Size  13x8y2-  Excellent  impression 
and  condition. 


First  Evening 


Yeiju 


YEIJU 

Worked  c.  1790-1800 

312 — Large  Head 

Against  a  dark  mica  background  appears  the  quarter- 
length  portrait  of  a  woman  writing  a  letter.  The  dark 
colors  of  the  print  are  very  striking.  Yeiju  is  an  almost 
unknown  artist  whose  works  are  rarely  met  with. 

Size  15x10.  Very  fine  impression,  in  yood  state. 


Shauaku 


First  Evening 


SHARAKU 

Worked  c.  1790-1795 

313 — The  Daimyo  Moron ao 

The  actor  Ishikawa  Danjuro  V  as  Moronao,  Governor 
of  Kamakura,  the  villain  of  the  Ronin  Play.  His  cruel 
and  lustful  image  is  here  pictured  in  robes  of  dull  red  and 
blue  against  a  dark  mica  background.  He  is  grinding 
his  hands  against  each  other  as  he  regards  the  distance 
with  dilating  eyes.  This  play  was  given  at  the  Kawar- 
azaki  Theatre  from  October  14,  1794,  onward. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  43. 
Other  copies  are  reproduced  in  the  V.  I.  K.  Paris  Cata¬ 
logue,  “Iviyonaga,”  Plate  65 ;  and  in  Kurth’s  “Shar- 
aku,”  Plate  38. 

Size  15x11.  Extremely  fine  impression  and  state. 


First  Evening 


Sharaku 


314 — Servitor  With  Sword 

The  actor  Otani  Tokuji,  perhaps  in  the  role  of  Sagisaka 
Bannai,  Moronao’s  cringing  and  oppressive  retainer. 
His  brown  robes  and  shifty,  cunning  face  appear  against 
a  dark  mica  background. 

^Reproduced  in  Scribner’s  Magazine  for  March, 
1916.  Other  copies  are  reproduced  in  Kurth’s  “Shar¬ 
aku,”  Plate  48 ;  and  in  the  V.  I.  K.  Paris  Catalogue, 
“Kiyonaga,”  Plate  65. 

Size  15x10.  Very  fine  impression  and  state. 


Sharaku 


First  Evening 


315 — Woman  in  Red 

The  actor  Kosagawa  Tsuneyo  as  Tonase,  wife  of  one 
of  the  Ronins.  His  stupid  and  empty  stare  has  an  insis¬ 
tence  so  fixed  that  it  becomes  almost  a  profound  search¬ 
ing  into  the  depths  of  the  universe.  The  dull  red  robe 
stands  out  against  a  dark  mica  background. 

Other  copies  are  reproduced  in  “Chats  on  Japanese 
Prints,”  Plate  44 ;  and  in  the  V.  I.  K.  Paris  Catalogue, 
“Kiyonaga,”  Plate  74;  and  in  Kurth’s  “Sharaku,” 
Plate  52. 

Size  15x10.  Very  fine  impression  and  state. 


First  Evening 


Sharaku 


SCHOOL  OF  SHARAKU 


316 — A  Surimono 

An  extremely  curious 
work,  of  uncertain  au¬ 
thorship.  The  signa¬ 
ture,  “SHUNMON,” 
is  not  that  of  any 
known  artist ;  and 
since  the  literal  mean¬ 
ing  of  the  characters  is 
“spring  gate”  they  are 
probably  to  be  regard¬ 
ed  as  a  merely  playful 
or  allegorical  designa¬ 
tion  of  the  artist.  A 
peculiar  and  interest¬ 
ing  little  masterpiece. 

Size  7  x  4%.  A  superb 
impression,  in  beautiful 
condition.  Probably 
unique. 


UTAMARO 

1753-1806 

317-  — A  Young  Prince  and  Ladies 

A  group  of  graceful  women  in  soft-colored  robes  are 
attending  upon  a  young  prince.  The  large,  black  coif¬ 
fures,  slender  bodies,  and  sinuous  draperies  present  the 
typical  Utamaro  woman  of  the  last  decade  of  the  century. 
^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  41. 

Size  15x10.  An  impression  of  remarkable  delicacy,  in  perfect 
condition. 

318 —  Two  Lovers 

In  the  gorgeous-colored  robes  of  ancient  times,  they  are 
seated,  holding  hands.  Pale  grey  background. 

Size  13x9.  Very  fine  impression  and  condition. 


Utamaro 


First  Evening 


319 — The  Awabi  Diver 

A  woman  Awabi  diver,  in  the  Province  of  Ise,  wringing 
the  water  from  her  garment  upon  emerging  from  the  sea. 

The  right-hand  sheet  of  Utamaro’s  most  famous  trip¬ 
tych.  Other  copies  are  reproduced  in  the  V.  I.  K.  Paris 
Catalogue,  “Utamaro,”  Plate  36;  Von  Seidlitz,  Page  48; 
Morrison’s  “Painters  of  Japan,”  Plate  22  and  British 
Museum  Catalogue,  Page  214. 

Size  15x10.  An  excellent  impression,  in  fair  condition. 


First  Evening 


Utamaro 


320 —  Woman  and  Puppies 

She  stands  in  robes  of  purple  and  green,  a  tall,  slender 
figure  of  much  charm.  The  background  is  shaded  from 
grey  into  black,  with  fine  effect. 

Size  15x10.  Superb  impression,  in  flawless  state. 

321 —  Two  Women  and  Infant 

They  stand  conversing ;  one  holds  a  pipe.  The  beauty 
of  the  color  is  particularly  noteworthy. 

Size  15x10.  Superb  impression  and  condition. 


Utamaro 


First  Evening 


‘a 


322 —  Large  Head 

A  woman  with  marvelously  rendered  streaming  hair 
looks  upward,  holding  a  fan.  The  restrained  touches  of 
color  and  the  superb  drawing  are  characteristic  of 
Utamaro  at  the  height  of  his  powers.  Very  rare. 

Size  15x10.  Superb  impression  and  condition. 

323 —  Two  Lovers 

The  pair  represented  are  the  famous  lovers,  Gompachi 
and  Komurasaki.  The  man,  in  a  translucent  black  robe, 
stands  beside  the  seated  girl.  His  tall  figure,  in  greys 
and  blacks,  is  particularly  fine.  Grey  background. 

Size  15x10.  Very  fine  impression  and  condition. 


First  Evening 


Utamaro 


324 —  Large  Head 

The  courtesan  Takigawa,  in  a  pale  bath-robe.  Grey 
background.  The  vigor  and  simplicity  of  Utamaro’s 
drawing  at  the  height  of  his  career  is  nowhere  more  evi¬ 
dent  than  here. 

Other  copies  are  reproduced  in  the  V.  I.  Iv.  Paris  Cat¬ 
alogue,  “LTtamaro,”  Plate  100;  and  in  the  Gillot  Cata¬ 
logue,  1904,  Page  82. 

Size  15x9y2.  Excellent  impression  and  condition. 

325 —  Two  Lovers 

She  lies  with  half-open  purple  robe;  he  is  drinking  tea. 
Size  7x5.  Fine  impression  and  condition. 


Utamaro 


First  Evening 


326 —  Silver  Portrait 

A  girl  in  moss-green  and  purple,  with  bare  bosom,  is 
holding  up  a  small  cricket-cage.  The  colors  are  particu¬ 
larly  luminous  against  the  pale  mica  background.  Rare. 

Size  15 \9y2.  Superb  impression  and  condition. 

327 —  The  Red  Screen 

A  graceful  girl  and  a  seated  youth  are  conversing  before 
a  red-bordered  screen. 


Size  13x9.  Fine  impression  and  condition. 


First  Evening 


Utamaro 


328 —  Two  Lovers  Under  Umbrella 

In  dark  robes,  they  move  along  together.  A  rich  and 
dignified  composition. 

Size  15x10.  Superb  impression  and  condition. 

329 —  Seated  Woman 

She  is  slipping  her  feet  into  her  sandals  as  she  sits  on 
the  veranda  edge. 

^Reproduced  in  “Chats  in  Japanese  Prints,”  Plate  40. 
Size  13x7y2.  A  fine  impression  in  good  state. 


Utamaro 


First  Evening 


330 —  The  Island  of  Enoshima 

Two  ladies  in  exquisitely  colored  robes  stand  on  the 
rocks  where  the  sea  washes  the  island. 

Size  15x10.  A  superb  impression,  in  most  beautiful  and  lumin¬ 
ous  condition. 

331 —  Girl  and  Her  Lover 

She  stands  with  clasped  hands;  only  his  head  and  shoul¬ 
ders  are  visible  behind  her.  The  large,  rich  color-masses 
of  her  robe  are  striking  against  the  grey  background. 

Size  15x10.  Superb  impression  and  condition. 


First  Evening 


Utamaro 


332 — Large  Head 

A  poetess,  about  to  write.  There  is  a  ghostly  beauty 
in  both  the  color  and  the  drawing  that  make  this  design 
noteworthy.  Grey  background. 

Size  15x10.  Superb  impression  and  condition. 


333 — Large  Head 


A  tea-house  waitress  carrying  a  bowl. 

A  modern  reproduction,  carefully  “aged”  by  some 
enterprising  dealer.  It  is  inserted  here  merely  to  show 
to  inexperienced  collectors  one  type  of  fake. 


o 

i  x 


Utamaro 


First  Evening 


334 — The  Flight  of  the  Lovers 
Mumegawa  and  Chubei  under 
an  umbrella ;  she  wears  a  trans¬ 
parent  black  hood.  In  some 
respects,  this  is  Utamaro’s  fin¬ 
est  composition  in  pillar-print 
form. 

A  wide  pillar-print.  Exception¬ 
ally  fine  impression  and  state. 


335 — Three  Women’s  Heads 

The  delicately  drawn  faces  and 
the  unusual  charm  of  the  clear 
soft  color  give  this  print  a  dis¬ 
tinct  character  of  its  own. 
Grey  background. 

Size  14x9y2.  Superb  impression 
and  condition. 


336 — Moonlight  Landscape 

A  scene  of  hills  and  waters, 
with  two  men  crossing  a  small 
bridge  in  the  middle  distance. 
Printed  in  delicate  greys.  One 
of  the  two  greatest  of  Utam¬ 
aro’s  rare  landscapes. 

Another  copy  is  reproduced 
in  Ivurth’s  “Japanische  Holz- 
schnitt,”  Page  47. 

Size  9x15.  Superb  impression 
and  state. 


First  Evening 


Utamaro 


337 —  Flower  Design 
The  subtly  curving 
leaves  and  stems  rise 
from  a  wicker  bas¬ 
ket  ;  all  is  printed 
in  the  most  delicate 
greys,  with  one 
touch  of  faint  yel¬ 
low  on  the  blossoms. 

Size  JU/oxT.  A  match¬ 
less  impression,  in 
superb  state. 

338 —  Buddhist  Priest 
A  Buddhist  priest 
stands  on  the  sea¬ 
shore,  with  a  back¬ 
ground  of  conven¬ 
tionalized  pines  and 

waves.  An  extremely  exceptional  composition. 

The  original  signature  on  this  print  has  been  removed 
by  some  vandal  and  that  of  Utamaro  has  been  added. 
The  real  authorship  is  entirely  unknown. 

Size  15x10.  A  superb  impression  in  pood  state. 

339 —  Woman  in  Purple 

She  sits  holding  a  pipe  and  adjusting  her  hair-pin. 
Yellow  background.  One  of  Utamaro’s  famous  master- 
pieces.  Very  rare. 

Another  copy  is  reproduced  in  the  V.  I.  lv.  Paris  Cat¬ 
alogue,  “Utamaro,”  Plate  87. 

Size  15x10.  A  superb  impression  in  brilliant  condition.  The  yel¬ 
low  background  has  been  revamped. 

340 —  Two  Courtesans 

Half-length  portraits  of  two  women.  The  drawing  and 
the  pale,  evanescent  coloring  are  Utamaro  at  his  best. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate 
39,  and  there  described  at  length. 

Size  15x10.  Excellent  impression  and  condition. 


Utamaro 


First  Evening 


341 — Youth  With  Football 

He  stands  under  a  willow,  about 
to  kick  the  descending  ball.  His 
figure  is  drawn  with  Utamaro’s 
finest  simplicity  and  distinction. 
A  great  rarity. 

A  'pillar-print.  A  superb  impression 
in  flawless  condition. 


342 — Two  Lovers 

Two  half-length  portraits  of  Osh- 
ichi  and  Kichisaburo.  (See  No. 
37.)  The  man  is  looking  down 
at  the  girl.  The  black  masses  of 
the  design  are  striking. 

A  pillar-print.  Very  fine  impression 
and  state. 


343 — Two  Girls 

Half-length  portraits  in  delicate 
colors.  One  girl  is  looking  down 
at  the  other. 

A  pillar-print.  Very  fine  impres¬ 
sion  and  condition. 


344 — After  the  Bath 

A  girl  in  a  pale  blue  bath-robe, 
moving  toward  the  left.  A  late 
work  by  the  Second  Utamaro. 

A  very  large  panel,  size  30x10.  A 
fine  impression  in  poor  state. 


0 


L 


r  o 


I 


First  Evening 


Toyokuni 


TOYOKUNI 

1769-1825 

345 — Summer  Cooling 

A  man  in  a  white  and  blue  robe  sits 
on  a  bench ;  behind  him  stands  a 
slender  tea-house  girl  with  trans¬ 
parent  sleeves.  A  very  rare  and 
fine  example  of  Toyokuni’s  early 
and  most  distinguished  style. 

Pillar-print.  Very  fine  impression  and, 
state. 


346 — A  Window  by  the  Sea 

The  figures  of  a  man  and  woman 
stand  before  a  grating.  Very  early 
work,  in  the  Shuncho  manner. 

A  pillar-print.  Very  fine  impression 
and  condition. 


347 — The  Veranda  by  the  Sea 

A  graceful  tea-house  girl  stands 
on  a  veranda  overlooking  the  sea, 
holding  a  saki-kettle.  The  figure 
has  a  quiet  charm  that  is  unusual. 

A  pillar-print.  Fine  impression  in  good 
condition. 


348— The  Green  Fan 

An  actor  in  rich  robes  of  black,  pale 
green,  and  rose,  in  the  role  of  a 
woman. 

Size  15x10.  A  fine  impression  in  flaw¬ 
less  condition. 


Toyokuni 


First  Evening 


349 —  The  Maple  Branch 

The  actor  Ichikawa  Yaozo,  in  a  purple  robe,  stands 
under  a  glowing  autumn  maple-branch,  against  a  grey 
background. 

One  of  the  finest  of  Toyokuni’s  most  notable  series  of 

actor-portraits, — the  “Yakusha  Butai  no  Sugata-ye.” 

Size  15x10.  An  exceptionally  fine  impression,  in  flawless  and 
beautiful  condition. 

350 —  The  Yellow  Robe 

Half-length  portrait  of  an  actor  in  pale  yellow  and 
brown.  He  carries  a  rose-colored  fan. 

Size  15x10.  Superb  impression  and  condition. 


First  Evening 


Toyoktjni 


351 —  The  Orange  Girdle 

Iwai  Hanshiro  IV,  as  a  woman  in  orange  and  green, 
stands  in  an  attitude  of  expectation.  From  the  same 
series  as  No.  349. 

Size  15x10.  Superb  impression  and  condition. 

352 —  The  Rain  Storm 

Two  actors  strike  dramatic  attitudes  in  the  midst  of  a 
pelting  rain.  They  are  Matsumoto  Koshiro  V  and  Ogino 
Isaburo  II.  Grey  background. 

Size  13x6.  Wholly  exceptional  impression  and  state. 


Toyokuni 


First  Evening 


353 —  -Two  Geisha 

Against  a  grey  night  background  these  extraordinary 
figure  rise  up,  in  pale  grey  and  rose  and  violet  robes. 
Their  strange  distortions  carry  to  the  ultimate  extreme 
that  morbid  and  fantastic  beauty  which  was  a  passion 
to  the  public  and  the  artists  of  the  end  of  the  eighteenth 
century. 

Size  15x10.  Exceptionally  fine  impression  and  state. 

354 —  Actor  in  Black  Robe 

Ichikawa  Yaozo  as  Sukeroku.  A  powerful  half-length 
portrait  in  robes  of  deep  rose  and  intense  black. 

Size  15x10.  Superb  impression  and  condition. 


First  Evening 


Toyohiro 


TOYOHIRO 

1773-1828 

355 — The  Revel  by  the  River 

Beneath  a  black  night  sky,  on  a  platform  built  out  over 
the  rushing  torrent  of  a  river,  a  youth  is  reveling  among 
geishas.  A  feast  is  spread ;  the  wine-cup  circulates ; 
music  and  song  echo  through  the  night. 

A  peculiarly  dramatic  and  intense  design.  It  is  diffi¬ 
cult  to  escape  the  conviction  that  Toyohiro  had  in  mind 
here  the  fundamental  Buddhist  conception  of  Ukioye,  “the 
passing  world.”  This  seems  his  superb  and  melancholy 
picture  of  mortal  existence, — at  best,  a  delirious  revel 
poised  precariously  for  a  moment  over  a  stream  that  is, 
like  life  itself,  rapidly  rushing  away  toward  the  darkness. 

One  of  a  series  of  triptychs,  “The  Twelve  Months,” 
of  which  this  represents  the  Sixth. 

A  triptych ,  size  14x29.  A  remarkable  and  superb  impression,  in 

fine  and  brilliant  condition. 


356 —  The  Grey  Hawk 

On  a  flowering  cherry-tree,  the  bird  perches  motionless, 
with  watchful  and  menacing  eye.  No  color  except  the 
pale  yellow  background. 

A  pillar-print.  Superb  impression  and  condition. 

357 —  Woman  Before  a  Mirror 

With  calm  dignity  the  young  courtesan  kneels  before  her 
black-lacquer  toilet-stand,  rouging  her  lips. 

A  pillar-print.  Excellent  impression  and  state. 


Toyohiro 


First  Evening 


No.  355— TOYOHIRO.  THE  REVEL  BY  THE  RIVER 


First  Evening 


Toyohiro 


358 —  The  Vase  of  Irises 

A  youth  with  a  curious  air  of  mel¬ 
ancholy  distraction  is  placing  irises 
in  a  vase. 

A  pillar-print.  Fine  impression ,  in  fair 
condition. 

359—  A  Daimyo’s  Kite-Party 

One  of  Toyohiro’s  masterpieces. 

^Reproduced  in  “Chats  on  Jap¬ 
anese  Prints,”  Plate  48,  and  there 
described  in  great  detail.  Rare. 

A  triptych,  size  15x30.  Superb  impres¬ 
sion  and  condition. 

360—  Kneeling  Girl  and  Youth 

In  pale  robes,  they  poise  near  each 
other. 

Size  8x6.  Fine  impression  and  state. 

KIYOMINE 

1787-1868 

361 —  Two  Girls 

A  double  bust-portrait  against  a 
grey  background.  The  white  parts 
of  the  draperies  are  printed  with 
mica. 

Size  15x10.  Very  fine  impression  and 
condition. 

HAKUGA 

c.  1800-1810 

362 —  Portrait 

The  head  of  a  girl,  about  to  drink 
from  a  saki-cup.  This  artist’s  work 
is  very  rare. 

Size  9x7.  Fine  impression  and  state. 


Hisanobu 


First  Evening 


HISANOBU 

c.  1800-1820 

363 — The  Grey  Robe 

The  young  courtesan  Utanosuke  of  Matsuba-ya  in  a 
pale,  bluish-grey  robe,  on  her  way  to  the  bath.  Beside 
her  a  companion  in  purple  is  kneeling.  Yellow  and  grey 
background.  An  unusually  good  work  by  a  rare  artist. 

Formerly  in  the  collection  of  Sir  Daniel  Hall;  repro¬ 
duced  in  the  Hall  Catalogue,  London,  1918;  Plate  5. 

Size  12x9.  Extremely  -fine  impression  and  state. 


HIDEMARO 

c.  1800-1810 

364 — A  Geisha  Singing 

With  a  young  girl  beside  her,  she  sits  touching  a  samisen. 
Size  13x8.  Fine  impression;  brown  but  good  state. 


KUNISADA 

1786-1865 

365—  — The  Green  Curtains 

A  woman  in  a  robe  beautifully  oxidized  by  time  peers 
out  from  between  curtains. 

Size  15x10.  Very  fine  impression  and  state. 

366 —  A  Samurai 

Nature  has  turned  the  robe  into  a  finely  oxidized,  mot¬ 
tled  surface. 

Size  15x10.  Very  fine  impression  and  state. 

367 —  A  Ghost 

The  melancholy,  grey  spectre  rises  like  a  candle-flame 
against  a  grey  background. 

Size  15x10.  Superb  impression  and,  state. 

368 —  Girl  With  Dog 

Black-robed,  she  stands  amid  falling  snow-flakes,  the 
dog  beside  her. 

Size  15x10.  Superb  impression  and  condition. 


First  Evening 


Kunisada 


369 — Girl  in  Snow 

In  the  role  of  the  Sagi  Musume,  the  spirit  of  the  snow, 
an  actor,  in  a  white  robe  decorated  with  pale  blue  herons, 
stands  under  an  open  purple  umbrella.  Snowy  willow 
branches  droop  on  one  side  of  her,  blossoming  plum 
branches  on  the  other. 


Size  15x10.  Superb  impression  and  condition. 


Kunisada 


First  Evening 


370 —  The  Mad  Priest 

Amid  tempestuous  rain  and  the  greyness  of  night,  this 
maniac-spirit  prowls  desperately  through  the  shadows. 
The  story  is  that  of  the  Buddhist  priest  Seigen,  who 
was  driven  insane  by  his  love  for  the  princess  Sakura- 
hime.  He  fled  from  the  temple,  murdered  his  parents, 
who  had  given  him  shelter  for  the  night,  and  wandered 
off  raving  until  he  was  finally  pursued  and  killed.  Usu¬ 
ally  Kunisada  was  merely  silly  when  he  tried  to  depict 
horrors;  but  here  he  achieves  an  effect  beside  which  even 
Hokusai’s  famous  ghosts  seem  unconvincing.  Very  rare. 
Size  15x10.  Superb  impression  and  condition. 

371 —  Memorial  Portrait  of  Hiroshige 

A  masterpiece  too  well  known  to  require  description. 

Size  15x10.  Extremely  fine  impression  and  state. 


First  Evening 


Kuniyoshi 


KUNIYOSHI 

1797-1861 

372 — Woman  in  Blue 

A  composition  in  shades  of  blue,  with  a  few  pale  reddish 
touches.  Another  copy  is  reproduced  in  colors  in 
Strange’s  “Japanese  Illustration,”  Page  52.  One  of 
the  finest  of  the  “blue  prints.” 

Size  15x10.  Superb  impression  and  condition. 


373 — Woman  With  Halbeed 

She  holds  up  a  lantern ;  the  colors  of  her  robe  are  soft. 
Size  15x10.  Perfect  impression  and  condition. 


Kuniyoshi 


First  Evening 


374 —  Snow  Scene 

Across  a  blue  lake  rise  snowy  trees  and  hills,  and  the 
red  masses  of  temples  and  pagodas, — all  a  fantastic 
snow-world. 

Size  9x14.  Superb  impression  and  condition. 

375 —  The  Wind 

A  girl  in  rich  reddish  robes  stands  amid  letters  scattered 
by  the  wind. 

Size  15x10.  Extremely  fine  impression  and  state. 


HOKUSHU 

c.  1820-1840 

376 — Three  Actors  in  a  Garden 

Rich  flowers  surround  them ;  but  all  the  interest  centers 
in  the  faces,  which  are  extremely  vivid  and  intense  cari¬ 
cature-portraits. 

Size  15x10.  Superb  impression  and  state. 


First  Evening 


Gakutei 


GAKUTEI 

1730-1740 


the  silver  and  bronze  splendor  of 


377 — Two  Humanists 
Before  a  painted 
screen  they  move 
in  an  atmosphere 
of  books  and  clas- 
s  i  c  a  1  painting. 
The  color  is  not¬ 
able. 

A  surimono,  size 
8y2x7y2.  Superb 
impression  a  n  d 
condition. 


378 — A  Warrior 

He  is  seated,  in 
full  armor. 


A  surimono,  size  8y2x7.  Superb  impression;  fair  condition. 


SHINSAI 

c.  1830-1850 

379 — The  Pine  Tree 

A  scene  from  a  N6  play.  In  exquisite  color. 

A  surimono,  size  8x11.  Superb  impression  and  state. 


HOKKEI 

1780-1859 

380 — The  Rope  and  the  Moon 

Against  a  black  night  sky,  where  a  crescent  moon  hangs, 
a  warrior  is  climbing  a  rope, — perhaps  toward  some 
height  of  hostile  parapet.  A  striking  composition. 

Size  7x5%.  Superb  impression  and  state. 


Hokuyei 


First  Evening 


381 — Snow  Scene 
A  blue  river  winds 
down  between 
snowy  hills.  A 
rare  print. 

Size  9y2  x  8. 
Superb  impres¬ 
sion  and  condi¬ 
tion. 

A  L,  ^ 


SADANOBU 

c.  1850-1875 

382 — The  Inlet 

Shore  and  sea  rendered  in  a  few  delicate  touches. 
Size  9x11.  Very  fine  impression  and  state. 


HOKUYEI 

c.  1835-1850 


JAKUCHU 

c.  1840-1860 

384 — Bird  and  Flower 

A  bird  is  descending  toward  a  flower,  against  an  intense 
black  sky.  Note  how  the  beautiful  seal  is  half  the  com¬ 
position.  A  stone-print. 

Size  9x8%.  Superb  impression  and  state. 


SEKIJO 

c.  1800-1830 

385 — Two  Lovers 

He  holds  a  fan,  she  a  battledore. 

A  pillar-print.  Fine  impression  and  state. 


First  Evening 


Banki 


BANKI 

Worked  c.  1790-1810 


386 — Two  Lovers  in  Snow 

They  are  robed  in  moss-green 
and  rose,  with  touches  of  blue. 
Behind  them  is  a  pale  grey  sky 
with  falling  snow-flakes.  An  ex¬ 
tremely  unusual  composition,  in 
color  of  remarkable  quality. 

A  pillar-print.  A  superb  impres¬ 
sion  in  'wholly  flawless  and  un¬ 
touched  condition. 


387 — Girl  and  Mirror 

A  girl  is  examining  her  face  in  a 
mirror  while  her  lover  bends  over 
her. 


n 


✓  0 


Pillar-print.  Extremely  fine  impres¬ 
sion  and  condition. 


Shunsen 


First  Evening 


r 


389 — The  Peacock 

A  courtesan  in  rich 
robes  decorated  with 
peacock’s  feathers. 

Very  large  panel,  size 
30x10.  Fine  impression 
and  condition. 


SHUNSEN 

c.  1830-1850 


388 — Man  in  Black 

I  n  black  robes,  h  e 
stands  holding  a  pur¬ 
ple  umbrella.  One  of 
the  finest  of  all  the 
large  panels  of  this 
period. 

Very  large  panel,  size 
30x10.  Superb  impres¬ 
sion  and  condition. 


: 


First  Evening 


Kiosai 


KIOSAI 

1>831-1889 

390 —  Two  Crows 

They  perch  on  a 
grey  plum-branch ; 
behind  them  is  the 
setting  sun.  The 
masterpiece  of  this 
rare  artist. 

Very  large  panel, 
size  30x10.  Superb 
impression,  in  flaw¬ 
less  untouched  con¬ 
dition. 

YEIZAN 

Worked  c.  1800-1840 

391 —  w  OMAN  With 

Flute 

Her  rich  robe  is  dis¬ 
posed  in  fine  masses 
of  color. 

A  very  large  panel, 
size  30x10.  Superb 
impression  and  con¬ 
dition. 

392 —  Girl  in  the  Wind 
Her  pale  robe  is 
blown  back  from  her 
feet  in  long  folds. 

Very  large  panel, 
size  30x10.  Fine  im¬ 
pression  and  state. 


A 


o 


y 


y 


Hokusai 


First  Evening 


HOKUSAI 

1760-1849 


393 — The  Bridge  at  Sano 

A  curving  pontoon-bridge  crosses  the  blue  stream,  from 
snowy  shore  to  snowy  shore.  At  the  right,  a  slender 
tree  rises  against  the  grey  sky.  One  of  the  Series  of 
Bridges. 

Size  15x10.  Superb  impression  in  flawless  state. 


394 — Wag-Tail  and  Wistaria 

A  bird  and  flower  design  from  the  well-known  Small 
Series. 

Size  6x7 y,.  Very  fine  impression  and  state. 


395 — The  Monkey  Bridge 

Twilight  and  rising  moon  over  the  torrent  as  it  pours 
down  under  the  bridge. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  51. 
Size  14 y2x6y2.  Very  fine  impression  and  state. 


First  Evening 


Hokusai 


396 —  Fuji  Seek  Across  Lake  Suwa 

In  the  Province  of  Shinano,  a  promontory  rises  in  the 
middle  of  the  scene;  on  both  sides  stretch  the  lake  and 
its  rocky  shores,  in  a  series  of  far  expanses.  Printed  in 
various  shades  of  blue  only.  This  and  the  following 
prints  are  all  from  the  famous  series,  “The  Thirty-Six 
Views  of  Fuji.” 

Size  10x15.  Very  fine  impression  and  state. 

397 —  Fuji  and  the  Great  Tree 

On  the  Pass  of  Mishima,  in  the  Province  of  Kai,  a  ring 
of  travelers  are  encircling  a  great  tree  with  their  arms, 
while  Fuji  towers  immense  and  aloof  in  the  background. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  50. 
Size  10x15.  Exceptionally  fine  impression  and  state. 

398 —  Fuji  From  the  Island  of  Enoshima 

In  the  Province  of  Sagami,  Fuji  appears  far-off,  above 
the  waters  that  surround  the  island. 

Size  10x15.  Exceptionally  fine  impression  and  state. 


Hokusai 


First  Evening 


399 —  Fuji  and  the  Fisherman 

At  Kajikazawa,  in  the  Province  of  Kai,  a  lonely  fisher¬ 
man  stands  on  a  green,  rocky  promontory  that  juts  out 
over  the  foaming  blue  waves.  Fuji  appears  across  the 
bay,  above  strata  of  mist.  One  of  Hokusai’s  supreme 
compositions. 

Size  10x15.  Excellent  impression  and  state. 

400 —  The  Wood-Sawers  and  Fuji 

In  the  Province  of  Totomi,  workmen  are  laboriously 
sawing  a  huge  log  into  boards  beside  a  smoking  camp¬ 
fire.  Fuji  looms  afar. 

Size  10x15.  Exceptionally  fine  impression  and  state. 

401 —  Fuji  and  the  Tama  River 

In  the  Province  of  Musashi,  Fuji  looms  above  mists, 
across  the  current  of  the  river.  A  boatman  is  crossing 
the  stream. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  49. 
Size  10x15.  Superb  impression  and  condition. 


First  Evening 


Hokusai 


402 — Fuji  and  the  Full-Sailed  Ship 

In  the  Province  of  Kazusa,  a  large  ship  is  sailing  the 
sea;  far  off  across  the  water  Fuji  appears  on  the  hori¬ 
zon.  One  of  Hokusai’s  very  daring  color-schemes. 

Size  10x15.  Superb  impression  and  condition. 


403 — Fuji  and  the  Cooper 

At  Fujimi-ga-hara,  in  the  Province  of  Awari,  a  cooper 
is  making  a  huge  cask;  through  the  circle  of  this,  Fuji 
appears  with  a  kind  of  sublime  intimacy  that  is  lost  on 
the  absorbed  laborer. 


Size  10x15.  Excellent  impression  and  condition. 


Hokusai 


First  Evening 


404 — Fuji  and  the  Moored  Boat 

At  Ushibori  in  the  Province  of  Hitachi,  a  large  boat  is 
moored  among  rushes.  Fuji  looms  in  the  distance. 
Printed  in  blue  and  faint  green  only. 

Another  copy  is  reproduced  in  Gookin’s  “Japanese 
Color  Prints,”  No.  218. 

A  very  remarkable  impression,  in  fine  state. 


405 — The  Golden  Carp 

The  glowing,  golden  fish  leaps  out  of  the  blue  pool, 
leaving  behind  it  luminous  circles  of  ripples.  A  highly 
decorative  design  in  rich  color.  Signed  “Taito.” 

Size  13x6.  An  exceptionally  fine  impression,  in  beautiful  condi¬ 
tion. 


SECOND  AFTERNOON  SALE 


WEDNESDAY,  FEBRUARY  11,  1920 
AT  THE  AMERICAN  ART  GALLERIES 
BEGINNING  AT  2 :30  O’CLOCK 


Catalogue  Nos.  406  to  653,  inclusive 


HIROSHIGE 

1797-1858 

THE  FIRST  TOIvAIDO  SERIES 

The  first  and  best-known  Tokaido  series  was  that  pub¬ 
lished  bp  Senkakudo  and  Hoyedo  between  1830  and  1834. 
This  series  was  Hiroshige'' s  first  great  triumph;  it  brought  him 
immediate  fame,  and  would  alone  have  sufficed  to  give  him  last¬ 
ing  immortality.  Its  endless  variety,  its  superb  romantic 
composition,  and  its  subtlety  in  rendering  the  mood  of  a  land¬ 
scape  have  never  been  surpassed.  So  great  teas  its  popularity 
that  many  editions  were  issued,  each  one  more  carelessly  printed 
than  the  preceding;  and  today,  though  poor  impress  ons  from 
this  series  are  common,  fine  ones  are  extremely  rare. 

The  set  here  catalogued  consists  of  excellent  impressions 
in  flawless  condition,  unless  otherwise  stated.  It  includes  the 
original  55  views,  and  all  of  the  important  variation-plates,  16 
in  number. 


Second  Afternoon 


First  Tokaido 


406 — Nihonbashi,  1  a 

At  dawn,  under  rosy  skies  where  blue  clouds  float,  a 
daimyo’s  procession  is  coming  with  flying  banners  up 
over  the  curved  bridge,  on  the  first  stage  of  its  journey 
out  of  Tokyo  and  down  the  long  Tokaido  Road.  Six 
fish-vendors  cluster  in  the  foreground. 


407 —  Nihonbashi,  1  b 

A  variation-plate,  omitting  the  blue  clouds  in  the  sky. 

408 —  Nihonbashi,  1  c 

A  variation-plate,  adding  twenty-two  figures  to  the  fore¬ 
ground. 

409 —  Shinagawa,  2  a 

Over  the  bay  are  spread  wide  stretches  of  blue  cloud 
against  a  rosy  morning  sky.  To  the  right,  between  the 
hills  and  the  line  of  houses  at  the  edge  of  the  sea,  runs 
an  uphill  road,  on  which  appear  the  last  six  retainers  of 
the  passing  daimyo-procession. 


First  Tokaido 


Second  Afternoon 


410 —  Shinagawa,  2  b 

A  variation-plate;  four  retainers  are  added  to  the  pro¬ 
cession. 

Exceptionally  fine  impression. 

411—  — Kawasaki,  3  a 

Between  the  rosy-streaked  sky  where  Fuji  is  outlined 
and  the  blue  river  that  flows  right  across  the  picture,  a 
little  thatched  village  stands  on  the  shore  among  cluster¬ 
ing  trees.  A  ferry-boat  is  in  midstream ;  a  man  is  moor¬ 
ing  a  raft  to  the  far  shore. 

Worn  condition. 

412 —  Kawasaki,  3  b 

A  variation-plate ;  the  man  is  gone  from  the  raft. 
Exceptionally  fine  impression. 

413 —  Kanagawa,  4  a 

A  steep  road  bordered  with  very  sharp-peaked  houses 
runs  alongside  the  blue  Bay  of  Yedo,  under  a  sky  whose 
blue  clouds  float  at  the  left. 

414 —  Kanagawa,  4  b 

A  variation-plate;  the  cloud  is  at  the  right,  and  the 
roofs  are  more  flat  than  pointed. 

415 —  Hodogaya,  5 

A  small  bridge  crosses  a  stream  to  a  village,  set  amid 
trees  at  the  foot  of  a  low,  rounded  hill. 

416 —  Totsuka,  6  a 

Before  an  open  wayside  tea-house,  a  man  is  dismounting 
from  his  horse.  In  the  background,  the  roofs  of  a  vil¬ 
lage  stretch  away  toward  the  fields,  the  hills,  and  the 
streaked  blue  sky. 

Exceptionally  fine  impression. 

417 —  Totsuka,  6  b 

A  variation-plate ;  the  tea-house  is  boarded  up,  and  the 
man  is  mounting  the  horse. 


Second  Afternoon 


First  Tokaido 


418 —  Fujisawa,  7 

Beyond  a  Torii  that  stands  by  the  river,  and  beyond  a 
little  bridge  and  a  village,  rises  a  dark  wooded  hill 
crowded  with  temples. 

419 —  Hiratsuka,  8 

The  roadway  zigzags  across  a  great  open  plain  toward 
grey  hills,  beyond  which  Fuji  rises  white. 


420 —  Oiso,  9 

From  the  savage  yellow  sky,  rain  is  beating  down  on  a 
little  village  that  stands  between  the  grey  hills  and  the 
pale  blue  sea. 

An  exceptionally  fine  impression. 

421 —  Odawara,  10  a 

Far  off,  across  a  blue  river  and  wide  sandy  river-flats, 
rises  a  heaped  mass  of  jagged  mountains.  Two  naked 
coolies  stand  on  the  nearer  shore. 

Slightly  soiled. 


First  Tokaido 


Second  Afternoon 


422—  — Odawara,  10  b 

A  variation-plate.  The  hills  are  more  rounded ;  there 
are  four  coolies  on  the  shore. 

Exceptionally  fine  impression. 

423—  — Odawara,  10  c 

A  variation-plate.  The  hills  are  somewhat  pointed,  and 
there  are  five  coolies  on  the  shore. 

424 —  Odawara,  10  d 

A  variation-plate.  The  hills  are  entirely  rounded,  with¬ 
out  a  single  sharp  peak ;  and  there  are  five  coolies  on 
the  shore. 

A  remarkable  and  perhaps  unequaled  impression. 

425 —  -Hakone,  11 

A  huge  green-mottled  mountain  towers  precipitously  in 
the  foreground  at  the  edge  of  Lake  Hakone ;  far  across 
the  lake,  Fuji  looks  down  over  its  circle  of  foot-hills. 

426 —  Mishima,  12 

The  grey  mists  of  early  morning  enfold  in  ghostly  dim¬ 
ness  a  village  through  which  travelers  are  journeying. 
Exceptionally  fine  impression. 

427 —  Numadzu,  13 

A  huge  round  moon  is  rising  over  a  winding  stream, 
where  the  fields  and  woods  meet  the  edge  of  a  little  vil¬ 
lage.  Through  the  early  summer  evening  light,  a  pil¬ 
grim  trudges  along,  bearing  on  his  back  the  grotesque 
Tengu  mask  always  brought  home  by  pilgrims  who  have 
been  to  Kompira  Temple. 

An  exceptionally  fine  impression. 

428 —  Hara,  14 

The  enormous  snowy  Fuji,  flushed  with  sunrise,  towers 
across  wide  snowy  rice-fields. 

Exceptionally  fine  impression. 

429 —  Yoshiwara,  15  a 

A  tree-bordered  road,  on  which  are  several  equestrians, 
zigzags  across  the  fields  toward  distant  Fuji. 

430 —  Yoshiwara,  15  b 

A  variation-plate.  Fuji  looms  higher,  and  the  title  of 
the  picture  is  written  across  it. 


Second  Afternooti 


First  Tokaido 


431 —  Kambara,  16 

Winter  evening  cold  and  silence  lie  on  a  little  village  in 
the  hills,  where  the  deep  snow  has  spread  its  heavy  white¬ 
ness  over  everything. 

An  unsurpassed  impression  of  this  superb  design. 

432—  Yui,  17 

From  the  edge  of  a  reddish  cliff,  where  gnarled  pine  trees 
rise  on  a  jutting  promontory,  the  blue-green  water 
stretches  across  Suruga  Bay  to  where  Fuji  rises  against 
an  evening  sky. 

A  famous  print. 

433 —  Okitsu,  18 

Near  the  flat  pine-covered  seashore,  two  wrestlers  are 
being  carried  across  a  stream  by  coolies. 

An  exceptionally  fine  impression. 

434 —  Ejiri,  19  a 

The  blue  and  white  streaked  waters  of  the  wide  bay  are 
dotted  with  numberless  sails ;  far  off,  a  dark  line  of 
mountains  rises. 

Rarely  is  the  water  printed  as  well  as  in  this  copy. 


First  Tokaido 


Second  Afternoon 


435 —  Ejiri,  19  b 

A  variation-plate.  The  blocks  are  unchanged,  but  the 
mountains  are  printed  in  harder  colors,  giving  them  a 
more  angular  effect. 

436 —  Fuchu,  20 

At  the  foot  of  a  dark  grey  hill,  travelers  are  fording 
the  green-blue  stream. 

437 —  Mariko,  21 

A  soft  flush  of  rose-color  overspreads  the  whole  sky, 
making  a  luminous  background  for  a  grey  hill,  a  grey 
tea-house,  and  a  white-blossomed  plum-tree. 

Exceptionally  fine  impression. 

438 —  Okabe,  22  a 

Down  through  a  cleft  in  the  dark  green  wooded  hills, 
a  stream  rushes  along  beside  a  road.  A  flaming  maple 
arches  above  it,  against  a  little  glimpse  of  sky. 

An  exceptionally  fine  impression. 

439 —  Okabe,  22  b 

A  variation-plate.  The  left  hill-slope  is  a  greenish  yel¬ 
low,  very  different  from  the  right-hand  slope. 

440 —  Fujieda,  23 

In  a  village  street  that  is  shaded  in  color  from  claret  to 
green,  a  group  of  coolies  are  repacking  their  loads. 
Exceptionally  fine  impression. 

441 —  Shimada,  24 

A  view  from  hills  down  upon  the  wide,  sandy  bed  of  the 
Oi  River,  where  many  travelers  are  awaiting  their  turns 
to  cross  the  ford. 

Exceptionally  fine  impression. 

442 —  Ivanaya,  25 

Beyond  the  wide  sandy  flats  of  the  river  rises  a  long 
line  of  curiously  shaped  humped  hills. 


Second  Afternoon 


First  Tokaido 


443 —  Nissaka,  26  a 

A  steep  yellow  road  descends  from  the  right  into  a  hol¬ 
low  of  the  mountains,  where  a  large  stone  lies  in  the 
middle  of  the  path.  Blue  mountains  appear  far  off 
down  the  notch. 

444 —  Nissaka,  26  b 

A  variation-plate.  The  road  is  printed  in  green. 

445 —  Kakegawa,  27 

In  the  midst  of  rice-fields,  a  small  bridge  arches  high 
over  a  stream.  Kites  are  in  the  sky ;  a  dark  mountain 
hems  in  the  horizon  to  the  right. 

Fine  copy. 

446 —  Fukuroi,  28 

At  a  wayside  tea-house,  under  a  large  grey  tree,  coolies 
are  tending  a  smoking  fire ;  while  to  the  right  stretches 
a  long  vista  of  grey  rice-fields. 

Exceptionally  fine  impression. 

447 —  Mitsuke,  29 

Strata  of  pale  mist  lie  over  the  wide  sandy  river-flats 
and  the  moored  boats ;  in  the  distance,  ghostly  wooded 
hills  loom  vaguely  through  the  dim  veils. 

An  exceptionally  fine  copy  of  this  famous  print. 

448 —  Hamamatsu,  30 

In  the  center  of  the  picture,  coolies  are  warming  them¬ 
selves  at  a  smoking  fire  which  they  have  kindled  near  a 
tree.  Behind  them  stretches  a  wide  vista  of  grey  autumn 
rice-fields  and  distant  houses  and  hills. 

An  exceptionally  fine  impression. 

449 —  Maizaka,  31 

Against  a  yellow  sunset,  a  huge  dark  promontory  rises 
up  out  of  a  wide  stretch  of  pale  blue  water. 

Exceptionally  fine  impression. 

450 —  Arai,  32 

Gay  bannered  boats  are  crossing  the  wide  blue  river 
under  a  golden  sky. 

Exceptionally  fine  impression. 


1 


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V 


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y 


u 


First  Tokaido 


Second  Afternoon 


451 —  Shirasuka,  33 

From  a  high  valley  between  grey  hills,  one  looks  down 
upon  a  wide  prospect  of  open  sea  and  luminous  sky. 

An  exceptionally  fine  impression. 

452 —  Futagawa,  34 

A  wide  stretch  of  green  and  grey  rolling  country,  dotted 
with  sparse  dwarf-pine  trees. 

Exceptionally  fine  copy. 

453 —  Yoshida,  35 

Scaffolding  rises  beside  the  river,  where  workmen  are  re¬ 
pairing  a  castle  roof.  On  the  left,  a  long  bridge 
stretches  away  to  the  wooded  farther  bank  and  the  pur¬ 
ple-streaked  sky. 

Very  good  impression. 

454 —  Goyu,  36 

Twilight  has  descended  on  the  darkening  street  of  a  vil¬ 
lage,  where  hotel-servants  are  using  both  eloquence  and 
force  to  capture  guests. 

Exceptionally  fine  copy. 


Second  Afternoon 


First  Tokaido 


455 — Akasaka,  37 

A  sago-palm  rises  in  the  courtyard  of  an  inn;  through 
the  open  doors  the  guests  and  servants  are  visible. 
Unusually  fine  impression. 


456 —  Fujikawa,  38 

At  the  entrance  to  a  village,  where  grey  walls  and  trees 
meet  the  open  country,  peasants  are  respectfully  kneel¬ 
ing  as  the  head  of  a  daimyo-procession  enters  the  town. 

Exceptionally  fine  impression. 

457 —  Okasaki,  39 

In  a  wide  sweep,  the  trestled  curving  bridge,  bearing  a 
long  daimyo-procession,  crosses  the  river  toward  a  dis¬ 
tant  castle  and  blue  hills. 

Exceptionally  fine  copy. 

458 —  Chiryu,  40  a 

On  grassy  plains,  many  horses  are  tethered  near  a 
spreading  tree.  A  long  low  black  hill  cuts  the  horizon. 

Exceptionally  fine  impression  of  a  very  rare  print 

459 —  Chiryu,  40  b 

A  variation-plate.  The  low  black  hill  is  absent. 

Extremely  fine  impression. 

460 —  Narumi,  41 

At  dusk,  travelers  are  coming  down  a  wide  village  street, 
where  open  cloth-shops  display  their  wares. 

Exceptionally  fine  impression. 

461 —  -Miya,  42 

Beyond  an  orange  temple-torii,  two/bands  of  coolies  in 
wild  chase  are  dragging  along  the  hopes  attached  to  two 
festival-cars. 

Exceptionally  fine  impression. 


462 — Kuwana,  43 

Just  off  a  grey-walled  promontory,  where  the  River 
Kiso  joins  the  sea,  two  sailing-junks  are  tossing  in  the 
green  waves.  To  the  left,  the  sea  stretches  far  away 
down  a  long  line  of  coast,  to  where  the  capes  and  bays 
of  Ise  are  lost  in  the  golden  evening  light. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  53. 
Exceptionally  fine  impression. 


First  Tokaido 


Second  Afternoon 


463 —  Yokkaichi,  44 

Wind  is  sweeping  across  the  pale  green  marshes,  tossing 
the  branches  of  the  grey  willow-tree,  and  playing  tricks 
with  the  hat  and  the  cloak  of  two  travelers  who  find 
themselves  on  the  narrow  causeway  and  bridges  of  this 
marsh-land. 

Exceptionally  fine  impression. 

464 —  Ishiyakushi,  45 

A  road  crosses  a  grey  harvest-plain  toward  a  small  vil¬ 
lage  set  amid  dark  trees.  Beyond  it,  hill  after  hill  rises 
in  broad-sloped  masses  against  a  sunset  sky. 

Exceptionally  fine  impression.  From  the  DeGoncourt  Collection. 


465 — Shono,  46 

Through  beating  gusts  of  grey  rain  that  lash  the  toss¬ 
ing  tree-tops,  coolies  are  hurrying  along  the  drenched 
pass. 

An  early  and  extremely  fine  impression  of  this  famous  master¬ 
piece. 


Second  Afternoon 


First  Tokaido 


466 — Kameyama,  47 

Against  the  cold  rosy  dawn-light,  the  steep  snow-cov¬ 
ered  slope  lifts  up  its  white  flanks  and  its  snowy  pines, 
in  one  great  sweep  from  the  village  in  the  valley  to  the 
castle  on  the  height. 

Exceptionally  fine  impression  of  this  masterpiece. 


467 —  Seki,  48 

Before  the  first  dawn-light,  there  is  a  stir  of  the  daimyo’s 
retainers  with  lanterns  in  the  open  space  outside  his  inn, 
as  they  prepare  for  the  departure. 

468 —  Sakanoshita,  49 

A  tea-house  stands  at  the  edge  of  a  gorge ;  across  the 
gulf  rises  the  pale  peak  of  Fude  Sute  Mine,  or  “Throw¬ 
ing- Away-the-Brush  Peak.” 

469 —  Tsuchiyama,  50 

Under  a  steady  grey  downpour  of  rain,  in  the  midst  of 
a  grey  wood,  a  daimyo-procession  in  red  and  green  robes 
is  crossing  a  bridge  across  a  small  torrent. 

Exceptionally  fine  impression. 


First  Tokaido 


Second  Afternoon 


470 —  Minakuchi,  51 

Outside  a  village  that  lies  at  the  foot  of  blue  hills,  women 
are  preparing  strips  of  dried  gourd. 

Very  fine  copy. 

471 —  Ishibe,  52 

Tea-houses  and  shrubbery  line  the  wide  road,  where 
travelers  are  passing;  the  misty  hills  stretch  along  the 
horizon. 

Exceptionally  fine  impression. 

472 —  Kusatsu,  53 

In  the  street  before  an  inn,  at  dusk,  two  groups  of 
coolies  hurry  by,  carrying  their  heavy  loads. 

473 —  Otsu,  54  a 

Bullock-carts  are  passing  down  a  road  in  front  of  three 
grey-roofed  tea-houses.  A  huge  green  hill  appears 
faintly  in  the  background. 

Very  rare  in  this  state. 

474 —  Otsu,  54  b 

A  variation-plate.  The  green  hill  is  gone. 

475 —  Otsu,  54  c 

A  variation-plate.  The  roofs  are  shaded  with  red  and 
black. 

476 —  Kyoto,  55 

The  long  bridge  stretches  across  the  sandy  flats  of  the 
Kamo  River  toward  the  city,  which  lies  outspread  at  the 
foot  of  high  grey  and  red  hills. 

477—  Enoshima  (An  Extra  Sheet ) 

From  a  pine-covered  hill,  one  looks  out  to  where  the 
island-peninsula  of  Enoshima  lies  amid  the  seas.  Whether 
this  extremely  rare  print  was,  as  is  usually  thought, 
really  intended  as  a  supplement  to  this  series,  seems  some¬ 
what  questionable  to  the  writer. 

An  exceptionally  fine  impression,  slightly  soiled. 


Second  Afternoon 


Lake  Biwa 


478 —  Clearing  Weather  at  Awadzu 

“White  as  when  the  wind  clears  away  the  cloud  and 
scatters  it,  the  sails  of  a  hundred  boats  come  flying  to 
Awadzu.” 

An  impression  of  extremely  remarkable  beauty;  flawless. 

479 —  Night  Rain  at  Karasaki 

“Elsewhere  will  they  talk  of  the  music  of  the  evening 
breeze  that  has  made  the  pine  of  Karasaki  famed ,  foi 
the  voice  of  the  wind  is  not  heard  through  the  sound  of 

the  rain  in  the  night.” 

Exceptionally  fine  and  pawless  impression. 

480 —  Evening  Sun  on  Seta 

“Soft  and  fitful  rain  passes  far  away  over  the  moun¬ 
tains  ;  the  evening  light  streams  along  the  bridge  of 
Seta.” 

Fine  impression. 


THE  EIGHT  VIEWS  OF  LAKE  BIWA 

A  series  of  masterpieces,  in  which  the  poetic  quality  of 
Hiroshige's  genius  reaches  its  highest  point.  They  are  so  well 
known  that,  in  place  of  description,  there  will  be  quoted  Mr. 
Laurence  Binyon's  translations  of  the  poems  inscribed  on  each 
one. 


Lake  Biwa 


Second  Afternoon 


481 —  Return  of  the  Boats  to  Yabase 

“The  boats  that  come  with  swelling  sails  to  Yabase  have 
been  chased  by  the  wind  along  the  coasts  of  Uchide.” 
Fine  impression. 

482 —  Autumn  Moon  at  Ishiyama 

“O  Hill  of  Stone,  the  image  of  the  moon  that  thou  seest 
appear  on  Niwo  Sea,  is  it  not  more  beautiful  than  even 
the  moonlit  Akashi,  or  Suma?” 

Superb  and  flawless  copy. 

483 —  Wild  Geese  Alighting  at  Katata 

“After  crossing  many  a  mountain  range,  the  wild  geese 
alight  in  Katata  for  a  while,  soon  to  continue  their  flight 
to  northern  Koshiji.” 

*A  superb  impression,  reproduced  in  “Chats  on  Japanese 
Prints,”  Plate  52. 

484 —  Evening  Bell  From  Mii  Temple 

“At  the  sound  of  the  bell  beginning  from  Mii-dera, 
Hark !  says  the  traveler,  I  am  one  step  nearer  to  the 
twilight.” 

Very  fine  impression. 

485 —  Evening  Snow  on  Hira-San 

“He  who  would  see  the  beauty  of  the  evening  on  the 
peaks  of  Hira  must  behold  it  after  the  snows  have  fallen 
and  before  the  flowers  are  fully  blown.” 


THE  HALF-PLATE  LAKE  BIWA  SERIES 


Wholly  different  in  conception  from  the  larger  series,  this 
set  contains  some  of  Hiroshige's  finest  work  in  small  size.  All 
the  sheets  are  extremely  fine  impressions  in  flawless  condition. 

486 — Clearing  Weather  at  Awadzu 


Pi 


-7 

487— Night  Rain  at  Karasaki 


& 


488 — Evening  Sun  on  Seta 


Second  Afternoon 


489 —  Return  of  the  Boats  to  Yabase 

490 —  Autumn  Moon  at  Ishiyama 

491 —  Wild  Geese  Alighting  at  Ivatata 

492 —  Evening  Bell  From  Mii  Temple 

493 —  Evening  Snow  on  Hira-San 


Lake  Biwa 


I  J) 

f 


THE  TEN  VIEWS  OF  KYOTO 

A  rare  series  that  comprises  a  number  of  famous  prints. 

494 —  The  Cool  of  the  Evening  at  Shijo 

On  the  sandy  flats  of  the  Kamo  River,  many  picnic  par¬ 
ties  are  enjoying  the  evening  dusk. 

Fine  impression. 

495 —  Full  Moon  on  the  \  odo  River 

A  large  boat  is  being  poled  along  the  blue  stream,  under 

a  large  full  moon. 

Fine  impression. 

496 —  Kinkakuji,  the  Golden  Pavilion 

On  the  shores  of  a  small  lake  stands  the  Golden  Pavilion 
with  a  background  of  grey  hill. 

Fine  impression. 

497 —  Cherry  Blossoms  at  Arashiyama 

A  raft  is  being  poled  down  the  blue  river,  past  grey 
banks  that  are  alight  with  pink  cherry-blossoms. 

Very  fine  impression. 

498 —  The  Bridge  of  Heaven  at  Tofukuji 

A  stream,  scattered  with  fallen  maple-leaves,  flows  down 
between  two  steep  hills  where  picnickers  are  enjoying 
the  autumn  foliage. 

An  exceptionally  fine  impression. 

499 —  Kiyomidzu  Temple  Amid  Cherries 

From  a  cloud  of  pink  blossoms,  the  temple  rises  against 
a  grey  hillside. 


Kyoto 


Second  Afternoon 


500 —  Gion  Temple  in  Snow 

Snow  falls  from  the  dark  sky ;  before  the  dark  roofs  and 
pale  blue  gate  of  the  temple  stand  three  women  with 
umbrellas. 

An  exceptionally  fine  copy  of  this  famous  print. 

501 —  The  Hamlet  of  Yase 

Peasants  carrying  loads  on  their  heads  are  passing  along 
a  narrow  path  through  rolling  fields. 

An  impression  of  entirely  matchless  quality,  in  flawless  state. 

502 —  Dusk  at  Shimbara  Gate 

A  staggering  reveler  is  being  assisted  away  from  the 
Flowery  Quarter,  under  an  evening  sky  and  sickle-moon. 


THE  THIRTY-SIX  VIEWS  OF  FUJI 

In  1858  Hiroshige  delivered  the  drawings  for  this  series 
to  his  publisher  with  the  statement  that  it  was  his  last  work, 
since  he  wished  to  put  aside  his  brush  before  old  age  should  rob 
him  of  his  skill.  His  words  had  an  unforeseen  prophetic  truth, 
for  even  before  the  prints  were  engraved,  the  great  artist  was 


Second  Afternoon 


Fuji 


dead;  and  his  eyes  never  looked  on  a  single  one  of  them.  The 
series  contains  many  poor  prints ,  probably  because  the  master 
could  not  supervise  the  arrangement  of  the  coloring.  Only  the 
finest  sheets  have  been  selected  for  inclusion  here. 


503 —  Fuji  From  Noge  in  Yokohama 

Against  a  luminous  yellow  sky,  the  peak  towers  over 
the  dark  foothills  and  the  calm  bay. 

A  superb  impression. 

504 —  Fuji  From  Sata  in  Suruga  Bay 

A  great  wave  is  leaping  up  against  rocks;  Fuji  appears 
far  off,  beyond  the  hilly  shore. 

Superb  impression. 


T  & 


505- — Fuji  From  Sukiya-Gashi  in  Tokyo 

Beyond  a  castle-moat  and  roofs  covered  with  snow,  Fuji 
appears  far  off  against  a  delicate  pink  glow. 

Superb  impression. 


V 


b 


Fuji 


Second  Afternoon 


506 — Fuji  From  Miura  in  Sagami 

Beyond  a  low  reef  and  a  headland  grown  with  pines, 
Fuji  appears  across  the  calm,  luminous  bay. 

An  impression  of  extremely  remarkable  and  perhaps  unique 
quality. 


507 —  Fuji  From  Enoshima 

The  peak  appears  framed  in  a  tall  grey  torii  that  stands 
on  the  beach. 

508 —  Fuji  From  Koshigaya  in  Musachi 

Two  flowering  plum-trees  stand  on  a  hill  in  the  fore¬ 
ground  ;  through  their  branches  appears  a  wide  land¬ 
scape  of  field  and  river,  with  Fuji  towering  beyond. 

An  extremely  remarkable  impression. 


509 —  Fuji  From  Ryogoku  in  Tokyo 

From  a  landing-stage  under  a  willow,  one  sees  the  Su- 
mida  River,  the  long  Ryogoku  Bridge,  and  Fuji  beyond. 

Very  fine  impression. 

510 —  Fuji  From  Hommoku  Beach  in  Musachi 

The  sea  foams  around  the  feet  of  a  rocky  green  and 
yellow  cliff.  Fuji  appears  far  across  the  bay. 

An  impression  of  remarkable  and  perhaps  unique  quality. 


THE  FAMOUS  PLACES  IN  THE  SIXTY-ODD 

PROVINCES 

This  extremely  ambitious  series  was  issued  between  1853 
and  1856.  Certain  of  the  designs  are  so  poor  that  they  have 
been  omitted  from  the  sale;  others  are  among  Hiroshige's 
greatest  masterpieces.  Early  impressions  in  this  series  bear 
five  seals  on  the  face  of  each  print ;  late  ones  have  only  four. 
All  the  prints  here  included  are  not  only  of  the  first  edition, 
but  are  also  impressions  of  such  uniformly  fine  quality  as  are 
rarely  seen.  All  are  in  flawless  condition. 


Second  Afternoon 


The  Provinces 


511— Y  amashiro  Province,  1 

At  Arashiyama,  near  Kyoto,  flowering  cherries  and  red- 
tinged  clouds  light  up  a  green  hillside  that  looks  down 
on  a  soft  blue  river  and  long  bridge. 


) 


/ 

A 


512 — Yamato  Province,  2 

The  blue  Totsu  River  flows  down  between  soft  green  and 
grey  hills,  where  the  dull  orange  of  autumn  maples  lights 
the  slopes. 

An  impression  of  marvelous  and  perhaps  unique  quality. 


513 — Izumi  Province,  4 

From  the  pine-dotted,  green  slope,  one  looks  out  across 
the  broad  sweep  of  Osaka  Bay  toward  distant  hills  and 
the  soft  orange  glow  of  a  sunset. 

Remarkable  impression. 


The  Provinces 


Second  Afternoon 


514 —  Settsu  Province,  5 

From  a  hill  where  a  tall  stone  lantern  stands  among 
small  pines,  one  looks  out  across  a  village  and  the  wide 
Bay  of  Osaka  toward  white  sails  and  a  sunset. 

515 —  Mikawa  Province,  10 

The  crags,  winding  stairs,  temples  and  mists  of  Mt. 
Horai  are  unfolded  in  a  highly  romantic  scene. 

516 —  Totomi  Province,  11 

The  long  lagoon  of  Hamana  winds  awTay  toward  the  left 
between  green  and  grey  hills. 

517 —  Suruga  Province,  IS 

Across  Suruga  Bay,  Fuji  looms  enormous  over  its  dark 
foot-hills,  with  sunset  clouds  around  it. 

518 —  Kai  Province,  13 

The  Monkey  Bridge,  high  above  the  blue  torrent,  joins 
the  two  yellowish  cliffs ;  rich  autumn  maples  half  hide  it. 

Very  fine  impression. 

519—  Iz  u  Province,  14 

At  the  village  of  Shuzenji,  a  blue  stream  pours  down 
from  the  green  hills,  breaking  into  several  wide  water¬ 
falls  in  its  course. 

Very  fine  impression. 

520 —  Sagami  Province,  15 

On  the  right  are  the  sea-washed  caves  and  wooded  heights 
of  Enoshima;  on  the  left,  Fuji  is  partly  visible. 

521 —  Musashi  Province,  16 

Beyond  the  snow-covered  shores  and  the  pale  blue  Su- 
mida  River  hang  mists  touched  with  red  dawn-light. 

522 —  Musashi  Province,  17 

A  festival-crowd  is  gathered  at  night  in  the  grounds  of 
Asakusa  Temple,  Tokyo.  Stars  shine  in  the  grey  sky. 
Very  fine  impression. 


Second  Afternoon 


The  Provinces 


523 —  Awa  Province,  18 

A  narrow  path  leads  down  to  a  blue  bay,  where  five 
junks  are  at  anchor.  Beyond,  there  rises  a  green  head¬ 
land,  piled  mountains,  and  a  glowing  golden  sunset. 

An  impression  of  extremely  remarkable  quality. 

524 —  Kazusa  Province,  19 

On  the  wide  shore,  two  gangs  of  men  are  hauling  up  a 
boat. 


525 —  Shimosa  Province,  20 

Th  ree  boats  in  a  channel  between  two  rocky  headlands ; 
Fuji  far  off  across  the  tranquil  blue  bay. 

526 —  Hitachi  Province,  21 

A  torii  stands  in  the  water  before  a  little  village,  behind 
which  the  wooded  coast  stretches  away  toward  the  sunset. 
The  printing  of  the  water  is  notable. 

527 —  Omi  Province,  22 

The  full  moon  hangs  over  the  darkness  of  Lake  Biwa ; 
the  long  Seta  Bridge  appears  in  the  middle-ground. 

528 —  Mino  Province,  23 

Between  dark  cliffs,  the  tremendous  foamless  weight  of 
a  waterfall  pours  steadily  downward. 

Fine  impression. 

529 —  Hida  Province,  24 

Across  a  gorge  ropes  are  fastened,  and  travelers  are 
being  hauled  across  in  baskets. 

Fine  impression. 

530 —  Shinano  Province,  25 

On  a  steep  dark  hill,  at  evening,  the  watery  rice-terraces 
reflect  repeatedly  the  full  moon  that  sails  high  overhead. 
A  misty  valley  to  the  left. 

531 —  Kotsuke  Province,  26 

Under  a  dark  winter  sky,  a  blanket  of  snow  covers  the 
fantastic  crags  and  pines  of  Mt.  Haruna.  All  is  white 
except  the  small  red  bridge  and  temple  and  the  blue 
stream. 

Very  fine  impression. 


)<? 


y 


The  Provinces 


Second  Afternoon 


532 —  Dewa  Province,  29 

Yellow-sailed  boats  on  an  inlet  between  dark  hills. 

533 —  Wakasa  Province,  30 

Fishermen  in  a  large  boat  are  hauling  in  the  net  with 
its  catch  of  fish  and  crabs. 

Fine  impression. 

534 —  Kaga  Province,  32 

Under  a  night  sky,  fishing  boats  with  flares  are  moving 
about  in  the  lake ;  dark  hills  beyond. 

535 —  Noto  Province,  33 

A  fantastically  carven  cliff  leans  over  a  narrow  blue 
inlet ;  to  the  right,  green  slopes,  cherries,  and  a  waterfall. 

An  impression  of  remarkable  quality. 

536 —  Etchu  Province,  34 

A  curving  pontoon-bridge  crosses  the  smooth  blue  river 
toward  green  hills. 

An  impression  of  extraordinary  quality. 

537 —  Echigo  Province,  35 

A  dark  promontory  honeycombed  with  caves  fronts  the 
sea. 

538 —  Sado  Province,  36 

A  green  and  yellow  hill,  at  whose  base  are  three  open¬ 
ings  to  gold  mines. 

539 —  Tango  Province,  38 

The  long,  pine-covered  peninsula  of  Amonohashidate 
stretches  across  an  expanse  of  blue  sea. 

540 —  Inaba  Province,  40 

A  green  pine  and  a  ruddy  plum-tree  stand  on  a  green 
hill  overlooking  bays  and  islands. 

541 —  Hoki  Province,  41 

In  a  beating  rain,  peasants  are  transplanting  rice  in 
the  fields.  Groves  of  trees  and  Mt.  Oyama  appear  dimly 
in  the  background  through  the  haze. 

Very  fine  copy. 


Second  Afternoon 


The  Provinces 


542 — Izumo  Province,  42 

Through  the  sacred  cryptomeria  groves  figures  are 
wandering  wrapped  in  the  mystery  of  grey  mist. 

A  superb  and  perhaps  matchless  impression  of  this  famous  print. 


543 — Iwami  Province,  43 

Near  a  green  promontory,  salt-makers  are  at  work  on 
the  beach. 

Very  fine  impression. 


544 — Oki  Province,  44 

The  towering  prows  of  two  great  junks  cut  the  blue 
waves  just  off  a  green  shore. 

Extremely  remarkable  copy;  the  printing  of  the  water  is  excep¬ 
tional. 


The  Provinces 


Second  Afternoon 


545 —  Harima  Province,  45 

On  the  sandy  beach  by  the  sea’s  edge,  lordly  pines  twine 
their  brown  trunks  and  green  foliage  in  arabesques 
across  the  sky. 

A  superb  copy  of  this  famous  masterpiece. 

546 —  Mimasaka  Province,  46 

Slashing  gusts  of  torrential  rain  are  sweeping  down  on 
two  belated  travelers  who  plod  through  the  night. 

An  extremely  remarkable  impression. 

547 —  Bingo  Province,  49 

In  grey  evening  light,  a  precipitous  crag  crowned  with 
a  temple  looms  over  the  sea. 

Very  fine  impression. 


Second  Afternoon 


The  Provinces 


548 —  Kn  Province,  53 

A  flight  of  cranes  over  islands  and  bays. 

549 —  Awaji  Province,  54  ,  / 

Off  a  low  coast,  fishermen  are  hauling  in  a  seme. 


550 —  Awa  Province,  55 

The  Naruto  Whirlpool  dashing  against  rocks  and  leap¬ 
ing  high  into  foam. 

551 —  Sanuki  Province,  56 

A  group  of  travelers  mount  the  road ;  behind  them  rises 
the  curiously-shaped  “Elephant’s  Head  Mountain.” 

Extremely  fine  impression. 

552 —  Iyo  Province,  57 

Against  a  streaked  sky,  wild  geese  fly  over  a  harbor. 

553 —  Tosa  Province,  58 
Men  fishing  with  rods,  on  a  rolling  sea. 

Fine  impression. 

554 —  Chikuzen  Province,  59 
A  zigzag  strip  of  land  extends  out  into  a  blue  harbor. 
A  small,  green  hill  rises  in  the  background. 

Fine  copy. 


555 —  Buzen  Province,  61 

Beyond  a  blue  river  rises  an  orange  cliff  honeycombed 
with  galleries. 

556 —  Bungo  Province,  62 

Beyond  a  harbor,  curious  conical  hills  rise  against  the 
dull  orange  sunset  glow. 

557 —  Hizen  Province,  63 

A  striped  sail  cuts  the  foreground ;  beyond  lie  an  in¬ 
dented  bay,  purple  sunset  mists,  and  mountains. 


The  Provinces 


Second  Afternoon 


558 —  Higo  Province,  64 

A  fallen  tree-trunk  bridges  a  misty  chasm ;  across  it  a  >y 
peasant  is  carrying  fagots.  Beyond  lnm  rises  a  huge 
blue  peak  wreathed  in  fleecy  clouds,  against  a  blue  sky. 

A  superb  impression  of  this  famous  print. 

559 —  Higo  Province,  64 

Another  impression ;  the  mountain  is  grey,  and  the  sky 
is  touched  with  yellow. 

Very  fine. 


560 — Iki  Province,  68 

Desolate  winter  and  falling  snow  over  the  land-locked 
harbor. 

A  superb  impression  of  this  masterpiece. 


I* 


561 — Tsttshimi  Province,  69 

A  rainbow  arches  over  a  bay  and  distant  coasts. 
Extremely  fine  impression  of  this  famous  design. 


I 

b 


< 


Second  Afternoon 


Yedo 


VARIOUS  HORIZONTAL  YEDO  SERIES 


At  various  times,  from  1830  to  1840,  Hiroshige  produced 
a  number  of  series  of  horizontal  views  of  Yedo  that  include 
some  of  his  finest  designs. 


562 — Lotus  Pond  at  Shinobugaoka 

Red  sunrise  clouds  light  the  sky  beyond  the  blue  pond 
and  the  green  foliage.  One  of  the  Earliest  Yedo  Series; 
second  edition. 

Very  fine  impression. 


563 — Morning  Cherries  at  Yoshiwara 

Above  the  dark  gate,  sunrise  breaks  on  the  pale  cherry- 
trees.  A  peculiar  impressionistic  effect  of  splintering 
licdit.  From  the  same  series. 

Very  fine  impression. 


564 — Evening  Rain  at  Azuma  No  Mori 

Darkness,  rain  and  silence  lie  over  the  wide  plain  across 

which  a  causeway  runs  toward  a  temple-grove.  From 

the  famous  series,  “Yedo  Kinko  Hakkei.” 

A  fine  impression  which,  now  very  brown,  has  gained  as  much 
in  mystery  as  it  has  lost  in  freshness. 


Yedo 


Second  Afternoon 


565 —  Falling  Snow  in  Kameido  Temple  Gardens 

The  grey  wintry  landscape  is  relieved  only  by  a  few 
touches  of  blue  in  the  water  and  of  dull  red  in  the  temple 
and  bridge. 

An  extremely  fine  copy  of  this  famous  print. 

566 —  The  Steps  to  Miojin  Shrine 

The  shrine  and  tea-house  crown  the  hill  to  the  right ;  to 
the  left,  the  flat  roofs  of  Yedo  stretch  away  under  an 
orange  sky  with  blue  clouds. 

Very  fine  impression. 

567 —  Yedo  Sunset 

A  green  wooded  hill  rises  over  the  roofs  and  canals,  with 
a  low  orange  sunset  burning  behind  it. 

Fine  copy. 

568 —  Incoming  Boats  at  Tsukuda 

The  finely  curving  sails  sweep  by  against  a  background 
of  water,  dark  shore,  and  low  orange  sunset. 

Fine  copy. 

569 —  Twilight  at  Takanawa 

Three  tall  sails  are  outlined  against  the  sunset  and  the 
blue  clouds ;  carts  and  travelers  crowd  the  wharf  in  the 
foreground. 


/  \ 


I 


■/{> 
5  , 


Second  Afternoon 


Yedo 


570 — White  Rain  on  Nihonbashi 

The  pale  blue  of  the  water,  and  the  pale  orange  touches 
along  the  horizon,  light  up  the  greyness  of  the  shore 
and  sky. 

Very  fine  impression  of  this  famous  print. 


571 — Picnic  at  Gotenyama 

On  a  green  cliff  that  fronts  the  blue  sea,  many  merry¬ 
makers  are  enjoying  themselves  under  the  pale  pink 
cherry-trees. 


Fine  copy. 

572 — Path  Trough  Rice-Fields 

A  winding  path  leads  across  the  pale  green  plain  to  the 
Temple  of  the  Five  Hundred  Rakan ;  a  single  slender 
tree  cuts  the  foreground. 

Superb  copy  of  this  famous  print. 


3 


573 — The  Fair  at  Asakusa  Temple 

A  wide  evening  view  over  the  roofs,  woods  and  grey 
evening  mists  of  Asakusa  Temple. 

An  impression  of  very  exceptional  quality. 


Yedo 


Second  Afternoon 


574 —  Snow  at  Shiba  Akabane 

Against  the  grey  sky  and  the  white  earth,  the  few 
touches  of  color  light  up  the  scene. 

An  extremely  fine  impression. 

575 —  The  Rainbow 

Scene  from  Atago  Hill,  Shiba,  looking  out  over  flat 
roofs  toward  the  bay.  At  the  left,  partly  hidden  by  a 
dark  tree,  a  rainbow  arches  across  the  blue  sky. 

Very  fine  copy. 

576 —  Moonlight  Picnic  at  Dokwan-Yama 

Picnickers  are  seated  on  a  green  knoll  to  the  right;  in 
the  center  two  women  and  a  child  with  a  fire-fly  cage  are 
climbing  the  path ;  to  the  left,  the  large  pale  moon  comes 
up  over  the  dim  grey  fields. 

An  impression  of  exceptional  quality. 

577 —  Evening  Festival  at  Ryogoku  Bridge 

Boats  with  lanterns  throng  the  water ;  above,  the  dark 
bridge  stretches  across  the  dark  skv  where  fireworks  are 
bursting. 

Exceptionally  fine  copy. 

578 —  Same,  but  later  edition,  from  changed  blocks. 


Second  Afternoon 


Yedo 


579 — The  Banks  of  the  Sumida  in  Cherry-Blossom  Time 
To  the  left,  the  green  banks  crowned  with  pink  cherries 
rise  from  the  delicate  blue  water. 

Very  remarkable  copy. 

5£0 — Evening  Fireworks  on  the  Sumida  River  Bank 

From  the  crowded  shore  one  looks  across  the  stream  to 
the  dark  farther  shore  and  the  beautiful  evening  sky. 

Extremely  fine  impression. 

581 —  Moonlit  Cherries  at  Yoshlwara 

People  are  hurrying  to  and  fro  before  the  dark  gate; 
while,  above,  the  white  blossoms  of  cherries  show  pale 
against  the  moon  and  the  evening  sky. 

A  very  fine  copy  of  this  famous  print. 

582 —  Incoming  Junks  at  Yetai-Bashi 

Beyond  the  bridge,  the  white  sails  rise  up  against  the 
blue  water  and  faint  orange  sunset  glow. 

Fine  copy. 

583 —  The  Roofs  of  the  City  at  Dusk 

A  view  from  Atago  Hill  over  the  wide  dark  plain  of  \  edo 
housetops. 

584 —  Azuma  Wood 

A  temple  stands  to  left,  almost  hidden  by  a  dark  grove ; 
to  the  right  stretch  the  grey  autumn  rice-fields  under  a 
blue-streaked  sky. 

Fine  impression. 

585 —  Evening  at  Gotenyama 

Many  people  are  wandering  about  on  a  dark  green  hill¬ 
side  that  fronts  the  sea;  from  the  slopes,  dark  pines  and 
glowing  autumn  maples  are  outlined  against  the  orange 
sunset  and  the  blue  water. 

A  remarkable  and  perhaps  unique  impression;  the  colors  have 
the  quality  of  enamels. 

586 —  The  Temple  Stairs 

A  steep  flight  of  steps  leads  up  to  a  torii,  beyond  which 
appear  lacy  trees,  dark  against  a  delicate  glow  of  pink 
clouds. 

Very  fine  impression. 


V 


Yedo 


Second  Afternoon 


587 —  Evening  Mist  at  Meguro  Temple 

A  red  shrine  is  in  the  foreground;  beyond  it  rises  a  stair 
and  a  dark  grove  streaked  with  dark  mist. 

588 —  The  Canal  Embankment 

Many  people  are  passing  along  the  embankment,  beyond 
which  rises  a  dark  grove  and  the  roofs  of  a  temple. 

Fine  copy. 

589 —  A  Road  in  the  Suburbs 

The  grey  causeway  stretches  along  the  top  of  a  green 
embankment,  with  many  tea-booths.  Pale  streaked  sky. 

A  very  fine  copy  of  a  rare  print ,  from  a  very  uncommon  series. 

590 —  Nihonbashi  at  Dawn 

Fish-vendors  crowd  the  bridge-head;  beyond,  the  loofs 
emerge  from  the  morning  mist,  and  Fuji  looks  down 
from  afar. 

Exceptionally  fine  impression  of  a  rare  print. 

591 —  Temple  Grove  in  Snow 

The  red  temple  stands  to  the  left  on  a  platform ;  toward 
the  right  appear  the  snowy  trees  and  roofs. 

Extremely  fine  impression  of  this  rare  and  fine  design. 


592 — Canal  in  Snow 

Three  figures  have  descended  from  a  boat  and  are  mount¬ 
ing  the  snowy  bank  toward  a  tea-house.  To  the  left 
the  pale  blue  canal  stretches  away  toward  a  dark  bridge 

and  grey  wintry  sky. 

Extremely  fine  copy. 


A  PAINTING 

593 — The  Sumida  River 

To  the  left  appears  a  bridge  which  stretches  across  the 
pale  blue  water;  on  the  farther  shore,  many  figures  and 
a  temple  are  suggested.  The  picture  is  a  small  master¬ 
piece  in  which  Hiroshige  has  used  the  fewest  and  simplest 
of  touches  to  produce  his  effect. 

Size  3y2x8y2;  in  perfect  condition. 


Second  Afternoon 


Various  Horizontal  Series 


PRINTS  FROM  VARIOUS  HORIZONTAL 

SERIES 

594 — Kanazawa  Series:  Sails  at  Otomi 

Beyond  the  fields,  the  path,  and  the  blue  sea,  a  faint 
yellow  flush  appears  in  the  sky. 

This  extreinely  remarkable  copy  of  this  very  rare  print  is 
printed  almost  entirely  in  blue;  its  quality  is  exceptional  and 
perhaps  unique. 


595 — Honcho  Meisho  Series:  Nunobiki  Cascade 

The  blue  waterfall  rushes  down  a  grey  wooded  hill  to 
the  left;  on  the  right,  travelers  are  descending  a  steep 
road  along  green  and  red  cliffs. 

Very  fine  copy  of  a  rare  print. 


596 — Harbors  of  Japan  Series:  Snow  at  Uraga 

Between  two  snowy  hills  lies  a  small  village,  whose  feet 
is  washed  by  the  blue  sea  on  one  side  and  by  an  inlet  on 
the  other.  Grey  wintry  sky  with  falling  snow. 

A  superb  impression  of  this  rare  design. 


Various  Horizontal  Series 


Second  Afternoon 


THE  RONIN  SERIES 

This  interesting  and  superb  series  is  seldom  found  m 
really  fine  impression.  All  of  the  following  are  of  excep¬ 
tional  quality.  They  are  the  pick  of  four  complete  series 
which  the  owner  at  carious  times  purchased  for  the  sake 
of  some  one  or  two  sheets. 

599 — Act  I :  The  Blue  Temple  Stairs 

The  Lady  Kaoyo,  followed  by  two  men  carrying  the  box 
of  helmets,  mounts  toward  the  council  of  nobles. 

Fine  color. 


597 —  Tamagama  Series:  Moonlight  at  Kinuta 

Beside  a  stream,  two  women  are  pounding  cloth;  beyond 
them  stretches  a  mysterious  misty  landscape  bathed  in 

the  pale  light  of  the  full  autumn  moon. 

A  most  remarkable  impression  of  one  of  Hiroshige’s  greatest 
renderings  of  mist  and  moonlight. 

598 —  Mountain  and  Sea  as  Wrestlers  Series:  Snow  at 

Bizen 

Beyond  great  hills  and  valleys  of  snow,  there  appeals 
one  touch  of  pale  blue  sea  under  a  grey  sky  where  snow 
is  falling. 

A  superb  impression  of  this  rare  print. 


Second  Afternoon 


Ronins 


600 —  Act  II:  The  Y  ellow  Screen 

In  a  blue-wallcd  room,  Tonase  crouches  behind  the  screen 
while  her  daughter  Konami  receives  her  fiance,  Rikiya. 
Very  fine  color. 

601 —  Act  III:  Before  the  Castee  of  Moronao 

Honzo,  the  retainer  and  counselor  of  Wakasanosuke, 
brings  presents  to  avert  the  anger  of  Moronao.  Delicate 
sunset  sky  beyond  the  blue  moat  and  the  grey  battle¬ 
ments. 

602 —  Act  IV:  The  Pink  Flowers 

The  Lady  Kaoyo  sits  on  a  veranda  arranging  flowers ; 
along  a  gallery  at  the  back  come  the  messengers  of  the 
Shogun. 

Unusually  fine  color. 

603 —  Act  V :  Night  Rain  Among  Mountain  Gorges 

One  of  the  ronins,  Sadakuri,  having  turned  highwayman, 
threatens  to  kill  the  aged  peasant  Yoichibei.  The  scene 
is  a  dark  hillside  beneath  two  great  pines ;  to  the  left, 
beyond  a  gorge,  appear  mountains  dim  in  the  rain. 

An  impression  of  remarkable  quality. 

601 — Act  VI:  Three  Hunters  in  a  Valley 

They  have  just  carried  home  the  body  of  the  murdered 
Yoichibei,  and  are  now  returning  across  a  small  bridge 
under  the  shadow  of  a  grey  mountain. 

605 —  Act  VII :  Evening  Carousal  at  a  Tea-House 

Yuranosuke,  pretending  to  lead  a  life  of  dissipation,  de¬ 
ceives  the  spies  who  have  been  sent  by  Moronao  to  find 
if  the  young  man  has  forgotton  his  vow  of  revenge. 

606 —  Act  VIII :  Travelers  and  the  Pine 

The  bridal-journey  of  Konami,  who  is  going  to  the 
capital  to  meet  her  betrothed.  She  and  her  mother  are 
coming  down  a  green  slope:  behind  them  towers  a  mag¬ 
nificent  pine-trunk  wreathed  with  autumn  ivy. 

An  impression  of  extremely  remarkable  quality. 


Ronins 


Second  Afternoon 


607—  — Act  IX :  Death  in  the  Snowy  Garden 

Honzo,  disguised  as  a  komuso,  stands  in  the  snowy  gar¬ 
den  where  he  is  soon  to  meet  his  tragic  death. 

608 —  Act  X:  The  Night  Visit  to  the  Armorer 

In  the  dark  street  outside  the  armorer  Gihei’s  house, 
the  black-clad  ronins  seek  admittance. 

Remarkably  fine  copy. 

609 —  -Act  XI.  First  Episode  :  The  Night  Bridge 

Under  a  dark  sky,  the  black  figures  of  the  ronins  are 
crossing  the  snowy  bridge  to  enter  boats  on  the  near  shore. 
An  exceptionally  fine  impression  of  this  famous  masterpiece. 

610 —  Act  XI,  Second  Episode:  The  Attack  on  the  Gate 
The  ronins,  in  the  snowy  court  of  Moronao’s  castle,  have 
placed  bamboo  bows  under  the  lintels,  and  by  simulta¬ 
neously  cutting  the  bowstrings  they  lift  the  lintel  and  the 
doors  fall. 

An  impression  of  superb  quality. 

611 —  Act  XI,  Third  Episode:  The  Killing  of  Moronao 
Moronao,  awakened  from  sleep,  has  fled  to  an  outhouse; 
thence  he  is  dragged,  and  is  slain  by  the  ronins. 

Superb  copy. 

612 —  Act  XI,  Fourth  Episode:  The  Three  Ruffians 

The  ronins  are  halted  in  the  snowy  street  by  three  ruf¬ 
fians  with  poles  and  swords. 

A  superb  impression. 

613 —  Act  XI,  Fifth  Episode:  The  Halt  on  the  Bridge 
On  the  great  curving  bridge  the  head  of  the  ronin 
column  is  halted  by  a  horseman  with  a  lance. 

Superb  copy. 

614 —  Act  XI,  Sixth  Episode:  The  Snowy  Sunrise 

The  ronin  column  enters  a  gate  near  the  sea ;  to  the  right 
is  a  snowy  cliff,  wonderfully  shaded ;  in  the  background 
the  red  sun  is  rising. 

Superb  impression. 


Sceond  Afternoon 


Upright  Tokaido 


THE  UPRIGHT  TOKAIDO  SERIES 

This  series ,  published  in  1855,  was  the  first  and  only 
attempt  made  by  Hiroshige  to  treat  these,  his  favorite 
subjects,  in  the  upright  form  of  composition  which  had 
by  this  date  become  his  favorite  one.  The  series  is 
characterized  chiefly  by  the  sense  of  vast  distance  that 
it  conveys,  especially  in  the  sea-pieces.  Poor  impressions 
of  this  series  are  plentiful,  but  those  of  fine  quality  are 
rare.  Only  the  best  designs  from  the  series  have  been 
included  here. 


615 —  Kawasaki,  3 

Pale  blue  Fuji  rises  beyond  the  bends  of  a  river. 

616 —  Kanagawa,  4 

The  full  moon  over  a  tranquil  bay  and  dark  bills. 

617 —  Totsuka,  6 

Peasants  are  working  in  a  rice-field;  beyond  green  hills, 
Fuji  looms  through  a  screen  of  dark  trees. 


618 — Fujisawa,  7 

Travelers  and  large  pines  fill  the  foreground ;  beyond, 
a  grey  hill  and  Fuji  appear  against  the  sky. 

Fine  copy. 


619 —  Hiratsuka,  8 

Beyond  a  broad  blue  river  rises  a  green  hill;  to  the  left 
of  this  appears  snowy  Fuji. 

Fine  impression. 

620 —  Oiso,  10 

From  a  height  one  looks  down  upon  a  wide  bay  and  far 
coasts. 


621 — Hakone,  11 

Travelers  with  torches  mount  a  steep  road  in  the  evening 
dusk.  Across  a  stream  looms  a  black  mountain. 

Very  fine  impression. 


Upright  Tokaido 


Second  Afternoon 


622 — Mishima,  12 

Dusk  in  a  village  street  before  a  large  torii. 


623 —  Numadzu,  13 

Snowy  landscape  with  bridges. 

Fine  impression. 

624 —  Haua,  14 

Fuji  looms  enormous  and  grey  above  its  foothills, 
against  a  pale  rose  sky. 

Very  fine  impression. 

625 —  Yoshiwara,  15 

Beyond  marshes,  Fuji  rises  white  out  of  mist,  against  a 
pale  blue  sky. 

Very  fine  impression. 


Second  Afternoon 


Upright  Tokaido 


sQ 


626 — Kambara,  16 

Across  a  river  rises  a  green  hill  whose  base  is  hidden  in 
mists. 

627— Yui,  17 

A  precipitous  green  cliff  fronts  the  sea ;  in  the  back¬ 
ground  appear  masses  of  dark  hills,  and  pale  Fuji  out¬ 
lined  against  the  glowing  sunset  sky. 

Very  fine  copy.  Usually  the  sky  is  too  glaring. 

y° 

628 — Ejiri,  19 

Beyond  a  wide  blue  inlet,  Fuji  rises  pale  among  brilliant 
sunset  clouds. 

Fine  impression. 

v> 

629 — Mariko,  21 

Travelers  in  a  village  street ;  green  hill  beyond. 

|  0 

630 — Ok abe,  22 

A  grey  pass  between  two  grey  hills ;  a  misty  grey  moun¬ 
tain  rises  beyond. 

Very  fine  impression. 

631 — Fujieda,  23 

A  pale  blue  river  winds  among  wooded  shores. 

yo 

632 — Ivanaya,  25 

A  wide  view  over  the  sand-flats  of  the  river. 

i ? 

633 — Kakegawa,  27 

A  stream  winds  from  the  foreground  back  toward  wooded 
cliffs  and  a  grey  hill. 

Exceptionally  fine  copy. 

!» 

631 — Mitsuke,  29 

One  looks  down  from  a  height  upon  the  grey  river-flats 
and  the  pale  blue  channel,  with  grey  hills  on  the  farther 
shore. 

Exceptionally  fine  impression. 

W 

635 — Hamamatsu,  30 

Gnarled  pines  along  the  wave-beaten  beach ;  a  far  coast 
in  the  background. 

Very  fine  impression. 

Upright  Tokaido 


Second  Afternoon 


636 —  Maisaka,  31 

The  great  headland  juts  into  the  pale  blue  sea,  against 
a  rich  sunset  sky. 

Exceptionally  fine  impression. 

637—  Arai,  32 

Across  the  wide  pale  bay  comes  a  procession  of  sails. 

638 —  Shirasuka,  33 

From  a  winding  cliff-road  one  looks  out  to  the  sea- 
horizon. 

639 —  Yoshida,  35 

A  bridge,  a  river,  and  a  castle  on  the  far  shore. 

Fine  copy. 


Second  Afternoon 


Upright  Tokaido 


640 —  Akasaka,  37 

Evening  dusk  has  fallen  on  the  fields ;  on  the  road,  trav¬ 
elers  are  fighting. 

Extremely  fine  impression. 

641—  Fujikawa,  38 

Snow  scene ;  a  village  street  and  snowy  mountains  dim 
through  the  falling  flakes. 

*Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  54.  Excep¬ 
tionally  fine  copy. 

642 —  Okasaki,  39 

A  bridge  arches  high  across  a  stream. 

Exceptionally  fine. 

643 —  Chiryu,  40 

Amid  green  fields,  travelers  pause  under  a  gnarled  pine ; 
pale  pink  sky. 

Very  fine  impression. 


Upright  Tokaido 


Second  Afternoon 


644 — Narumi,  41 

Strips  of  dyed  cloth  hanging  in  a  village  street. 
Very  fine  impression. 


645 —  Miya,  42 

A  large  orange  torii  stands  on  the  shore,  with  the  pale 
blue  sea  beyond. 

An  impression  of  extraordinary  quality. 

646 —  Ivuwana,  43 

A  great  junk  outlined  against  blue  water  and  pale  pink 
sky. 

Very  fine  impression. 


647 — Yokkaichi,  44 

Wide  view  over  a  grey  landscape  to  the  sea. 


Second  Afternoon 


Upright  Tokaido 


648 — Ishiyakushi,  45 

Amid  green  fields,  a  rosy  plum  tree  stands  outlined 
against  the  pale  blue  sky. 

Exceptionally  fine  impression. 


649 — Kameyama,  47 

From  a  savage  yellow  sky  streaked  with  lightning,  grey 
rain  beats  down  on  a  road  up  which  travelers  are 
hurrying. 

Exceptionally  fine  impression. 


650 — Seki,  48 

The  dark  blue  distant  mountain  rises  up  against  the  pale 
blue  luminous  sky  with  superb  atmospheric  effect. 

An  extremely  remarkable  and  superb  impression. 


Upright  Tokaido 


Second  Afternoon 


651 — Minakuchi,  51 

Glowing  autumn  maples  at  the  foot  of  pale  green  hills. 
An  impression  of  remarkable  quality. 


652 — Kusatsu,  53 

View  across  a  wide  pale  lagoon  toward  a  long  line  of 
grey  mountains. 

Very  fine  impression. 


653 — Otsu,  54 

From  a  terrace  high  over  the  lake,  one  looks  out  across 
the  pale  water  to  a  pointed  peak. 

Very  fine  copy. 


SECOND  EVENING  SALE 


WEDNESDAY,  FEBRUARY  11,  1920 

AT  THE  AMERICAN  ART  GALLERIES 

BEGINNING  AT  8:15  O’CLOCK 


Catalogue  Nos.  654  to  901,  inclusive 


HIROSHIGE  (Continued) 

THE  YETATSU  TOKAIDO  SERIES 

This  series ,  published  about  1840,  is  also  called  the 
Gyosho  Series,  because  the  titles  are  written  in  Gyosho 
or  informal  script.  The  great  characteristic  of  the  series 
is  the  conscious  attempt  which  Hiroshige  makes  to  deal 
with  larger  masses  of  flat  color  and  to  obtain  his  effect 
more  by  the  skillful  employment  of  solid  mosaic-patterns 
than  by  gradation.  The  series  is  somewhat  rare. 


654 —  Nihonbashi,  1 

The  bridge-head  under  a  grey  dawn. 

655 —  Shinagawa,  2 

A  tea-house  on  the  shore ;  wide  blue  bay  beyond. 

656 —  Kawasaki,  3 

Three  boats  on  the  long  reaches  of  the  river. 

657 —  Kanagawa,  4 

One  looks  out  from  a  low  shore  to  the  blue-streaked  sea. 


Second  Evening 


Yetatsu  Tokaido 


658 —  Hodogaya,  5 

A  small  bridge  arches  over  a  blue  stream  near  a  tea-house. 

659 —  Totsuka,  6 

Travelers  descending  a  road  between  green  bills. 

660 —  Fujisawa,  7 

Travelers  on  a  bridge  near  a  blue  torii. 


661 — Hiratsuka,  8 

Travelers  on  a  river  bank;  beyond,  Fuji  against  a  striped 
pink  and  blue  sky. 


662 —  Oiso,  9 

A  Daimyo’s  retainers  marching  along  a  pine-grown 
shore. 

663 —  Odawara,  10 

View  across  river-flats  toward  brown  mountains. 

664 —  Hakone,  11 

Travelers  on  a  rocky  pass. 

665 —  Mishima,  12 

Two  men  with  umbrellas  mount  from  a  little  village 
toward  a  tea-house. 

Fine  impression. 

666 —  Numadzu,  13 

Wandering  minstrels  in  a  village  street. 

Fine  impression. 


s 


? 


667 —  Hara,  14 

Grey  Fuji  looms  enormous  across  wide  plains  and  a  river. 
Very  fine  copy. 

668 —  Yoshiwara,  15 

Two  travelers  pause  at  a  tea-house  from  which  appears 
a  pine-grown  plain  and  Fuji. 

Very  fine  impression. 

669 —  Kambara,  16 

Two  komuso  with  basket  bats  pause  beside  a  blue  river. 


^0 


Yetatsu  Tokaido 


Second  Evening 


670—  Yui,  17 

Near  a  green  knoll,  porters  are  crossing  a  stream  on  trestles. 

671 —  Okitsu,  18 

From  a  pine-grown  shore,  one  looks  out  upon  a  wide 
vista  of  green  coast-line,  pale  blue  sea,  and  pink  sky. 


672—  Ejim,  19 

Low  red  sunset  across  snowy  fields. 

673—  Fuchu,  20 

Pilgrims  at  the  entrance  of  a  village. 

674 —  Mariko,  21 

Two  travelers  eating  at  an  open  tea-house. 

Fine  copy. 

675 —  Okabe,  22 

A  tea-house  looking  out  upon  peaks  and  gorges. 
Fine  copy. 


Second  Evening 


Yetatstj  Tokaido 


676 —  Fujieda,  23 

Beyond  a  wharf,  where  three  travelers  wait,  appear  green 
hills  and  blue  bays. 

Extremely  fine  copy. 

677 —  Shimada,  24 

Three  travelers  on  a  plank  bridge. 

Fine  impression. 


S' 

S 


678- — Kanaya,  25 

A  wrestler  and  other  travelers  are  being  carried  across 
a  stream  by  naked  coolies. 


679 —  Nissaka,  26 

On  a  mountain  road,  travelers  pause  before  a  large  stone 
in  the  middle  of  the  path. 

Exceptionally  fine  copy. 

680 —  Kakegawa,  27 

Pines,  a  temple  torii,  and  a  temple  lantern  stand  beside 
the  road. 

Fine  copy. 

681 —  Fukuroi,  28 

Children  are  flying  kites  in  the  fields. 

Very  fine  copy. 


682 — Mitsuke,  29 

Boats  on  a  dark  river ;  green  shore  beyond. 


Yetatsu  Tokaido 


Second  Evening 


683 — Hamamatsu,  30 

Pines  on  a  sandy  shore. 


7 


684— Maisaka,  31 


Travelers  wading  across  a  stream. 

685 —  Arai,  32 

Sailboats  sweeping  along  over  bluish  green  water. 

A  very  fine  impression. 

686 —  Shirasuka,  33 

Travelers  pause  to  view  the  superb  sweep  of  sea-expanse 
and  sails. 

Extremely  fine  impression. 

687 —  Futagawa,  34 

A  tea-house  before  a  low  green  hill. 

Fine  impression. 

688 —  Yoshida,  35 

A  bridge  across  a  deep  blue  river ;  a  castle  and  hills 
beyond. 

Fine  impression. 

689 —  Goyu,  36 

At  dusk,  travelers  cross  a  stream  near  two  large  dark 
trees. 


Extremely  fine  impression. 


690 — Akasaka,  37 

The  moon  appears  through  the  branches  of  three  pine- 
trees,  rising  beyond  a  misty  plain  and  grey  hills. 


Very  fine  copy. 


691 — Fujikawa,  38 


J 


A  shop-lined  street  mounts  steeply  toward  the  right. 
Very  fine  impression,  in  glowing  color. 

692 — Okasaki,  39 

Six  travelers  and  a  horse  on  a  curving  bridge. 


693 — Chiryu,  40 


Coolies  are  pausing  on  a  road  under  pines. 


Second  Evening 


Yetatsu  Tokaido 


694 —  Narumi,  41 

A  cloth-shop,  open  to  the  street. 

695 —  Miya,  42 

Orange  sunset  beyond  a  torii  beside  the  sea. 


696 — Kuwana,  43 

The  blue  sea  washes  the  ramparts  of  a  castle. 


Very  fine  impression. 

697 — Yokkaichi,  44 

A  pink  torii  stands  on  a  road  before  an  open  tea-house. 


698 — Ishiyakushi,  45 

Travelers  with  a  horse  plod  through  deep  snow  in  the 
bluish  evening  dusk.  Snow  is  falling  from  the  grey  sky. 

Extremely  fine  impression. 


f 

1/7 


0 


699 — Shono,  46 

Coolies  packing  horses  before  a  tea-house. 


Fine  copy. 


Yetatsu  Tokaido 


Second  Evening 


700 —  Ivameyama,  47 

Porters  on  a  mountain-road  lined  with  pines. 
Fine  copy. 

701—  Seki,  48 

The  open  front  of  an  inn,  seen  from  the  street. 
Fine  copy. 

702 —  Sakanoshita,  49 

View  of  rocky  hills  from  a  tea-house. 


703 —  Tsuchiyama,  50  a 

A  Daimyo  procession  fording  a  stream  between  steep 
green  banks ;  the  sky  is  dark  with  torrential  evening  rain. 
Extremely  fine  impression. 

704 —  Tsuchiyama,  50  b 

A  variation  plate;  the  rain  is  gone. 

F in e  i/m pre ssi o n . 

705 —  Minakuchi,  51 

Travelers  before  a  basket-maker’s  shop. 

Fine  copy. 


Second  Evening 


Yetatstt  Tokaido 


706 —  Ishibe,  52 

Four  travelers  and  three  horses  at  the  entrance  of  a 
village. 

707—  Kusatsu,  53 

Three  travelers  on  a  road  near  three  curiously  drawn 
trees.  River  and  hills  beyond. 

Very  fine  copy. 

708 —  Otsu,  54 

The  open  front  of  an  inn  beside  Lake  Biwa. 

709 —  Kyoto,  55 

From  a  bridge  are  seen  the  river  and  hills  of  Kyoto. 

An  exceptionally  fine  impression. 


THE  KISOKAIDO 

In  his  series  of  Views  of  the  Sixty-Nine  Posting  Stations 
of  the  Kisokaido  Road,  Hiroshige  collaborated  with 
Kesai  Yeisen,  who  made  twenty-three  of  the  designs.  Of 
late  years,  fine  impressions  from  this  series  have  been 
almost  unprocurable.  The  following  are  all  of  remark¬ 
able  quality. 

710 — Shimmachi,  12 

The  view  is  from  a  green  cliff-side,  out  across  the  wind¬ 
ings  of  a  small  blue  river,  toward  the  far  bank,  on  which  a 
clump  of  pines  is  silhouetted  against  the  sky.  Far  blue 
mountains  appear  along  the  horizon,  clear  against  a  sun¬ 
set  whose  soft,  luminous  splendor  not  even  Hiroshige 
ever  surpassed. 

An  impression  of  extraordinary  quality  in  every  respect. 


Ivisokaido 


Second  Evening 


711 — Itabana,  15 

Against  a  grey  wintry  sky,  flushed  with  clear  faint  sun¬ 
set  at  the  horizon,  is  silhouetted  a  row  of  fantastic  pine- 
trees  feathered  with  snow.  Snow-covered  travelers  are 
passing  along  the  snow-hummocks  beneath  the  trees. 
To  the  left  flows  a  small  blue  stream.  This  design,  by 
Yeisen,  worthily  takes  rank  as  one  of  the  finest  sheets  in 
the  series. 

A  remarkable  and  superb  impression. 


712 — Annaka,  16 

Between  curious  bare  slopes  of  green  and  grey,  a  wide 
road  mounts  to  a  notch.  The  composition  and  the 
color-scheme  of  this  print  are  both  unusual. 

An  exceptionally  fine  impression. 


Second  Evening 


Kisokaido 


713 — Ivaruizawa,  19 

//  superb  and  notable  impression  of  this  masterpiece. 


714- — Mochizuki,  26 

A  superb  and  perhaps  unmatched  impression  of  this  famous 
masterpiece.  The  sky  is  a  marvel  of  mystery. 


Ivisokaido 


Second  Evening 


715 —  Lake  Suwa,  31 

On  the  right,  the  Shiojiri  Pass  descends  a  green  hill; 
one  looks  out  across  the  frozen  surface  of  the  lake  to 
the  mountainous  shores  beyond.  In  the  distance,  Fuji 
rises  against  a  pale  sky.  By  Yeisen. 

Very  fine  impression. 

716 —  Ochiai,  45 

The  road  winds  down  a  dark  green  wooded  hill  that 
occupies  the  center  of  the  picture;  beyond  it,  a  row  of 
faint  misty  blue  peaks  rises  along  the  horizon. 

An  extremely  fine  impression. 


717— 01,  47 

An  extremely  fine  impression  of  this  famous  design. 

718 —  Okute,  48 

On  a  path  that  leads  up  from  a  green  rolling  plain  are 
two  peasants  carrying  faggots.  To  the  left,  a  green 
bluff  with  protruding  rocks  and  twisted  pines  cuts  the 
yellow  sunset  sky. 

A  superb  impression. 

719 —  Takamiya,  65 

Two  women  carry  large  bales  up  from  the  river-flats. 


Second  Evening 


Triptychs 


720 — Two  Figures  in  Snow 

On  the  left  rises  a  snowy  pine-tree,  under  which  stands 
a  woman  in  a  blue  robe  decorated  with  irridescent  touches 
of  color.  On  the  right,  under  a  snowy  bamboo,  stands 
a  man  in  robes  of  salmon,  grey  and  blue,  holding  up  an 
umbrella.  In  the  wide  space  between  the  two  figures  is 
outspread  a  delicate  snowy  landscape  with  the  narrow 
blue  windings  of  a  river  stretching  across  it.  This  is  the 
finest  of  all  Hiroshige’s  figure-and-landscape  triptychs. 
Ivunisada  collaborated  in  the  figures,  and  signs  at  right 
and  left,  while  Hiroshige  places  his  signature  imposingly 
in  the  middle. 

A  triptych,  size  15x30.  An  impression  of  extremely  marvelous 
quality,  in  brilliant  condition. 


721 — The  Naruto  Whirlpool 

Two  small  islands  and  many  rocks  jut  up  from  a  broad 
expanse  of  eddying  and  foaming  water,  where  the  out- 
rushing  floods  of  the  river  meet  the  inrush  of  the  ocean- 
tide.  In  the  background,  a  long  grey  line  of  mountain¬ 
ous  coast  stretches  away  toward  the  horizon  on  the  right. 

A  triptych,  size  15x30.  An  exceptionally  fine  impression  of  this 
famous  print;  in  flawless  state. 


722 —  Woman  in  Snow 

Dressed  in  robes  whose  exquisite  soft  colors  no  words 
can  describe,  she  stands  amid  falling  snow,  holding  up 
an  open  umbrella.  Behind  her  is  a  blue  river,  a  snowy 
landscape,  and  a  grey  wintry  sky.  Part  of  a  triptych. 

Size  15x10.  An  impression  of  unique  and  marvelous  quality;  in 
flawless  condition.  The  writer  regards  it  as  the  finest  figure- 
print  by  Hiroshige  that  he  has  ever  seen. 

723 —  Girls  Playing  Tag 

In  the  foreground,  on  a  low  green  slope,  four  girls  are 
running  about;  behind  them,  on  the  slope,  picnickers  are 
established  under  dark  pines  and  pale  cherries.  Part  of 
a  triptych. 

Size  15x10.  An  exceptionally  fine  impression,  in  excellent  con¬ 
dition. 


Hiroshige 


Second  Evening 


No.  720— HIROSHIGE.  TWO  ACTORS  IN  SHOW 


Panels 


Second  Evening 


724 —  Moonlight  at  Tsukudajima 
The  dark  masts  of  the  moored 
junks,  and  the  dark  little  is¬ 
land,  are  silhouetted  against 
the  pale,  clear  blue  of  sea  and 
sky  blended  into  one  by  the 
early  evening  moonlight. 

Size  14 y2x5.  A  superb  impres¬ 
sion  of  this  famous  print,  in  flaw¬ 
less  condition. 

725 —  The  Bow  Moon 
“Wh  ere  the  torrent  leaps  and 

falls, 

And  the  hanging  cliffs  look 
down, 

Cloven  grey  and  ruddy  walls, 
Each  with  ragged  forest- 
crown, 

There  across  the  chasmed  deep 
Spans  a  gossamer  bridge  on 
high ; 

And  below,  from  gulfs  of  sleep, 
Mounts  the  Bow  Moon  up 
the  sky. 

Blue  dusk,  thickening  whence 
she  rose, 

Her  abysses  veils ;  above 
M  oves  she  into  twilight’s  close 

O 

As  faint  strains  of  music  move. 

On  the  eastern  slope  her  feet. 

White,  in  tranced  ecstacy, 

Climb,  a  ghost  of  heaven,  so  sweet 
That  the  spent  day  cannot  die”  . 

The  writer  has  never  been  able  fully  to  conceal  from  his 
fellow-collectors  the  fact  that  he  considers  this  sheet  the 
finest  Hiroshige  print  in  existence. 

^Reproduced  in  color  as  the  frontispiece  of  “Chats  on 
Japanese  Prints.” 

Size  15x7.  A  superb  impression,  wholly  uncut;  in  flawless  and 
brilliant  condition.  Perhaps  its  equal  exists;  but  the  writer  has 


Panels 


Second  Evening: 

o 


726 —  Sumida  River  in  Snow 
Beside  a  steep  bank,  the  sol¬ 
itary  peasant  poles  a  raft 
down  the  dark  blue  river, 
under  a  grey  sky  full  of 
falling  snow-flakes. 

A  superb  impression  of  this 
famous  print,  in  flawless 
slate.  Size  15x5. 

727 —  Sumida  River  in  Rain 
A  shower  is  falling  across 
the  grey  sky.  The  blue  Su¬ 
mida,  the  tea-houses  on  the 
shore,  and  the  blue  temple- 
roofs  and  pagoda  that  rise 
from  a  dark  grove,  are  all 
seen  through  the  rain. 

Superb  impression  in  flawless 
condition.  Size  15x5. 

728 —  A  Canal  and  Fuji 
The  exquisitely  shaded  wa¬ 
ters  of  the  little  canal  pass 
between  two  dark  green 

hills;  beyond,  through  gnarled  pines,  white  Fuji  lifts  its 

head  into  a  delicate  blue  sky. 

Size  13x4 y2.  An  impression  of  marvelous  quality,  in  flawless 
condition. 


I  o  o 


9  Y  ' 


729 —  The  Wave  at  Enoshima 

On  the  right  rises  a  cliff  of  green,  brown,  and  yellow 
rock,  darkly  wooded;  at  its  feet  a  great,  curling  sweep 
of  wave  dashes  high ;  toward  the  left,  the  sea  stretches 
away  to  vague  coasts. 

Size  10x5.  An  impression  of  wholly  exceptional  and  marvelous 
quality.  Flawless  condition. 

730 —  Pines  on  a  Cliff 

Four  pines  cling  on  the  steep  red  and  grey  cliff;  far  be¬ 
low  lies  the  blue  water,  and  dim  mountains  beyond. 

Size  13x3.  Superb  impression  in  flawless  state. 


Second  Evening 


Panels 


731- — A  Grey  Print 

A  standing  woman  and  a  kneeling  man,  in  the  midst  of 
a  snowy  landscape,  are  watching  a  flight  of  birds.  A 
rare  and  very  fine  design,  printed  entirely  in  black  and 
one  shade  of  grey. 

Superb  impression,  in  flawless  condition.  Size  9x6  ',4. 


732 —  Woman  and  Plum  Blossoms 

In  a  long,  hooded  robe,  she  stands  under  a  plum-branch 
whose  blossoms  are  white  against  the  pale  pink  back¬ 
ground. 

Size  13x3.  Superb  impression  and  condition. 

733 —  Warrior  on  Seashore 

In  a  terrific  storm  of  black  clouds,  lightning,  and  furi¬ 
ous  waves,  he  stands  on  the  sands,  grasping  his  sword. 
A  scene  of  great  dramatic  intensity. 

Size  15x10;  the  picture  covers  only  the  lower  10  inches  of  the 
plate.  Superb  impression,  in  exceptionally  superb  state  due  to 
oxidization. 


731 — Two  Envelopes 

Two  extremely  delicate  landscapes,  printed  in  soft  shades. 
Size  7x2  each.  Superb  impression  and  state. 

735 — The  Wave  and  Fuji 

A  curling  blue  and  white  wave  leaps  up  in  a  great  arc; 
to  the  right  lie  green  islands ;  and  in  the  background, 
Fuji  against  a  delicately  flushed  sky. 

Size  15x10.  Superb  impression  and  condition. 


736 — The  Snowy  River 

A  blue  stream  flows  between  steep  wooded  banks  covered 
with  a  heavy  fall  of  snow.  The  black  wintry  sky  over¬ 
head  is  full  of  falling  flakes.  A  solitary  boat  traverses 
the  stream. 


Y> 

¥> 


Size  15x10.  Superb  impression  and  condition. 


Birds  and  Flowers 


Second  Evening 


737 — Sparrow  and  Bam¬ 
boo 

Printed  wholly  in 
grey,  with  most  del¬ 
icate  gradations.  A 
masterpiece,  of 
great  rarity. 

Size  15x7.  Formerly 
in  the  Wakai  Collec¬ 
tion.  Superb  impres¬ 
sion  a  n  d  flawless 
condition. 


738 — Hojiro  Bird  and 
Camellias 
The  grey  bird  hangs 
head-downward  from 
the  dark  branch, 
whose  dark  green 
leaves  and  pale  pink 
flowers  are  outlined 
against  a  sky  flushed 
with  rose  at  the  top 
and  with  yellow  at 
the  bottom. 


^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  56. 
Size  15x7.  Superb  impression  and  state. 


739 — Swallow  and  Irises 

The  grey  bird  sweeps  through  the  empty  sky  on  speeding 
wings;  below,  a  slender  stem  of  iris  rises  from  pale  water. 
Size  13x4y2.  Superb  impression  and  state. 


)1° 


740 — Two  Green  Birds  and  Hydrangeas 

. 

Against  a  pale  pink  glow,  the  two  fluttering  birds  sweep 
downward.  The  long  stem  of  the  plant  stretches  from 
one  bloom  in  the  lower  left-hand  corner  to  another  bloom 
in  the  upper  right. 

Size  15x5.  Superb  impression  in  excellent  state. 


Birds  and  Flowers 


Second  Evening 


741 —  Bird  and  Fruit 

The  green  bird  perches 
on  the  grey  branch ; 
above,  amid  green  and 
grey  leaves,  is  one 
orange-colored  fruit  and 
one  green  one.  Extreme¬ 
ly  fine  color  and  design. 

Size  12x5.  Superb  impres¬ 
sion  and  state. 

742 —  Sparrow  and  Bamboo 
The  brown  bird  hangs 
head-downward  from  a 
sprig  projecting  from 
the  stem  of  a  large  green 
bamboo.  Pale  blue  skv. 

Size  13x3.  Superb  impres¬ 
sion  and  state. 

743 —  Peacock  and  Peonies 
The  soft  rich  color  of 
the  bird  is  intermingled 
with  that  of  the  large 
flowers. 

Size  14xG.  A  superb  im¬ 
pression  of  this  famous  de¬ 
sign,  in  excellent  condition. 


s' 


744 — Mandarin  Ducks  on  Water 

Two  ducks  sweep  along  in  a  blue  swirl  of  water ;  overhead 
hang  leaves  and  flowers. 

Size  15x7.  An  extremely  remarkable  impression  of  this  famous 
design;  it  is  printed  almost  entirely  in  blue.  Good  condition. 


745 — Peacock  on  Autumn  Maple 

In  the  midst  of  rich-colored  autumn  leaves,  the  glowing 
bird  perches  on  the  broken  branch  of  a  tree. 

Size  15x5.  Extremely  remarkable  and  flawless  copy. 


Birds  and  Flowers 


Second  Evening 


7 46 — Grasses  and  Convolvulus 

The  stems  are  green,  the  flow¬ 
ers  dull  purple  and  deep  blue. 
The  background  is  a  pale  yel¬ 
low,  shading  into  a  warm 
orange  and  red  at  the  top. 

Size  15x5.  A  remarkable  impres¬ 
sion  in  superb  state. 


747 — Mandarin  Ducks  in  Snow 

They  float  on  the  pale  blue 
water  under  snowy  bamboo 
leaves.  Grey  sky  with  falling 
snow. 

Size  9x6'y2.  Remarkable  impres¬ 
sion  in  fine  condition. 


748 — Kingfisher  and  Water- 
Plants 

The  bird,  a  spot  of  glowing 
enamel-like  color,  flies  above 
the  dark  green  leaves  and 
stems  that  rise  from  the  pale 
blue  water. 

Size  13x4.  Superb  impression 
and  state. 


749 — Bluebird  and  Wistaria 

The  bird  hangs  head-downward  from  the  drooping  vine, 
under  a  cascade  of  pale  purple  blooms.  Pale  blue  sky. 
Size  13x3.  Marvelous  impression  and  condition. 


sn> 


750 — Sanderlings  and  Waves 

In  the  light  of  a  great  full  moon,  two  sanderlings  are 
flitting  over  a  white  wave. 

Size  13x4y2.  Very  fine  impression  and  state. 


Second  Evening 


Birds  and  Flowers 


751 —  Birds  and  Snowy  Camellias 
The  flowers  are  dull  red,  the 
leaves  dull  green.  The  birds 
are  touched  with  yellow  and 
salmon.  Grey  sky  with  snow¬ 
flakes. 

Size  13x4%.  Superb  impression 
and  state. 

752 —  Swallow  and  Moon 

With  wide-spread  wings,  the 
speeding  bird  passes  just  be¬ 
low  the  huge,  round  disc  of 
the  moon.  Blue  sky,  shading 
downward  into  pale  green. 

Size  13x4%.  An  impression  of 
exceptional  quality  in  flawless 
state. 

753 —  Bird  and  Wild  Roses 

The  grey  and  yellow  bird,  in 
dizzy  somersault-flight,  darts 
down  past  the  large  mass  of 
pink  blooms  and  green  leaves. 
The  sky  is  shaded  pale  green 
below  and  pale  yellow  above. 

Size  14x4%.  Exceptionally  fine 
impression  and  state. 


754 — Mandarin  Ducks  in  Snow 

They  float  on  the  blue  water  under  snowy  bamboo  leaves. 
The  blue  of  the  water  melts  into  the  grey  of  the  sky. 

Size  14x4%.  Superb  impression  and  condition. 


r 0 
>  ^ 


755 — Long-Tailed  Bird  and  Camellias 

The  blue  bird  is  flying  up  from  a  clump  of  red  camellias 
and  dull  green  leaves.  Shaded  blue  sky. 

Size  13x4%.  Superb  impression  and  state. 


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5 


T* vs  ^  ^  o  v*— r 

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Birds  and  Flowers 


Second  Evening 


756 — Bird  and  Wistaria 

The  bird  is  swinging  on  a 
long  vine  under  the  pale  pur¬ 
ple  flowers.  The  pale  blue  sky 
shades  into  rose  at  the  top. 

Size  15x5.  Superb  impression  and 
condition. 


757 — Wild  Geese  and  Moon 

The  two  birds  are  flying  across 
the  face  of  the  large  full  moon 
which  floats  in  the  deep  blue 
sky.  Below,  rich  dark  au¬ 
tumn  ivy-leaves  hang  on  a 
dark  tree-trunk. 

Size  13x3.  Fine  impression  and 
condition. 


758 — Bird  and  Wistaria 

The  blue  and  white  bird  hangs 
from  a  vine  in  the  midst  of 
the  purple  flowers. 

Size  13x4y2.  Superb  impression 
and  state. 


759 — Mandarin  Ducks  in  Snow 

They  float  on  the  grey  water  under  green  and  snowy 
bamboo  leaves.  Grey  sky  with  snow  falling. 

Size  13x4y>.  Extremely  fine  impression  and  state. 


Second  Evening 


Large  Panels 


760 — Crane  on  Pine 
Tree 

The  black  and 
white  bird  stands 
perched  on  the 
brown  branch  of 
a  pine,  amid  the 
dark  green  foli¬ 
age.  Behind  ap¬ 
pears  the  red  disc 
of  the  rising  sun. 

Size  30x1 0.  Very 
fine  impression 
and  condition. 


761 — T  he  Ship  of 
Good  Luck 
The  Seven  Gods 
of  Good  Luck  are 
sailing  in  a  drag- 
on-prowed  boat. 
Overhead,  a  crane 
flies  across  the 
red,  rising  sun. 

Size  30x10.  Very 
fine  impression 
and  state. 


/> 


762- — T  he  Ship  of 
Good  Luck 
Another  copy  of 
the  same  print, 
much  faded. 


Large  Panels 


Second  Evening 


Size  30  x  10.  An  excellent 


763 —  The  Kiso  Snow 

Gorge 

In  m  a  j  e  s  t  y  of 
conception,  n  o 
print  of  Hiroshi¬ 
ge’s  ever  sur¬ 
passed  this  mas¬ 
terpiece  ;  and  it 
will  always  re¬ 
main  one  of  the 
greatest  land¬ 
scapes  of  the  Uki- 
oye  School.  In 
feeling  if  not  in 
technique,  it 
draws  its  inspira¬ 
tion  from  the  old¬ 
er  classical  tradi¬ 
tion  of  Chinese 
painting. 

An  extremely  fine 
i  m  pres  s  i  o  n, 
in  flawless  and 
brilliant  state,  the 
whiteness  of  the 
snow  remaining 
unbrowned.  Size 
30x10. 

764 —  Horseman  and 

Fuji 

A  nobleman  on 
horseback,  with 
two  attendants,  is 
passing  under  a 
gnarled  pine-tree. 
In  the  back¬ 
ground,  Fuji 
looms  enormous 
against  a  deep 
blue  sky. 

impression  in  fair  condition. 


Second  Evening 


Marusei  Tokaido 


THE  MARUSEI  TOKAIDO  SERIES 

So  called  because  it  teas  published  by  Marusei  about  1852 ; 
also  called  the  Reisho  Series,  because  the  titles  are  written  in 
Reisho  or  formal  script.  An  admirable  work,  which  is  not  very 
well  known  to  collectors  because  of  its  extreme  rarity;  the 
blocks,  according  to  Watanabe,  were  destroyed  by  fire  before 
many  copies  had  been  printed.  The  great  characteristic  of  the 
series  is  that,  to  a  surprising  extent,  the  pictures  are  conceived 
as  horizontal  designs,  with  the  dominant  lines  stretching 
straight  across  the  sheet,  and  broken  only  by  such  variations 
as  were  necessary  to  prevent  monotony. 

765 —  Nihonbashi,  1 

Beyond  the  crowded  bridge,  Fuji  looms  white  against 
the  sky. 

766 —  Shinagawa,  2 

Two  tea-houses,  on  the  low  shore,  front  the  wide,  blue 
bay. 

767 —  Kawasaki,  3 

Majestically  down  the  wide  river  comes  a  sailing- junk 
with  spread  canvas.  Two  crowded  ferries  cross  the  fore¬ 
ground  ;  evening  clouds  tinge  the  sky. 

Very  fine  copy. 

768 —  Kanagawa,  4 

A  line  of  houses  along  the  sea. 

Poor  impression. 

769 —  Hodogaya,  5 

A  bridge  arches  across  the  blue  stream,  from  snowy  shore 
to  snowy  shore,  under  a  delicate  grey  sky. 

Very  fine  copy. 

770—  Totsuka,  6 

A  road,  mounting  under  great  pines,  opens  on  Fuji. 

771 —  Fujisawa,  7 

Night  has  fallen  on  the  village  street,  where  many  peo¬ 
ple  move  about  with  lanterns. 

Very  fine  impression. 


Marusei  Tokaido 


Second  Evening 


772 — Hiratsuka,  8 

A  road  winds  under  trees  across  a  level,  green  plain. 

778 — Oiso,  9 

Where  a  pine  and  a  willow  stand  on  the  high  shore,  a 
tea-house  fronts  the  sea. 

774 —  Odawara,  10 

Coolies  with  their  burdens  are  fording  the  broad  stream. 

775 —  Hakone,  11 

Through  the  night,  with  smoking  torches,  coolies  strug¬ 
gle  up  the  rocky  path,  where  great  pine-trees  lean  over 
the  gorge. 

Very  fine  impression. 

770 — Mishima,  12 

A  village  street  seen  from  above. 

Very  fine  impression. 


777— Numadzu,  18 

Fuji  looms  white  above  a  long  line  of  dark  foot-hills  that 
circle-in  a  wide  plain.  Yellow  sunset  burns  in  the  sky. 
Exceptionally  fine  impression. 


Second  Evening 


Marusei  Tokaido 


778—  Hara,  14 

Fuji  more  than  fills  the  whole  picture,  looming  over  a 
grey  plain  against  a  blue  sky. 

Very  fine  impression. 

779 —  Yo  SHI  WAR  A,  15 

Travelers  are  passing  along  a  pine-bordered  road ;  to 
the  left,  across  harvest  rice-fields,  Fuji  lifts  its  peak 
against  an  enamel-blue  sky. 

Extremely  fine  impression. 

780 —  Kambara,  16 

A  ferry-boat  on  the  river,  between  masses  of  smooth, 
green  hills. 

Very  fine  impression. 

781—  Yui,  17 

Where  dark  cliffs  come  down  to  meet  the  dark  sea,  five 
travelers  pause  to  watch  the  low  orange  line  of  the  sea- 
sunset. 

Extremely  fine  impression. 

782 —  Okitsu,  18 

A  junk  with  a  striped  sail  moves  by,  against  a  back¬ 
ground  of  dark  shore  line,  beyond  which  Fuji  rises  pale. 

783 —  Yejiri,  19 

Across  blue  water,  Fuji  rises  over  its  foot-hills,  into  a 
sky  of  blue  and  rose. 

Very  fine  impression. 

784—  Fuchu,  20 

Grey  dusk  has  enfolded  the  village  street  as  two  eques¬ 
trians  arrive  at  the  inn  gate. 

Very  fine  copy. 

785 —  Mariko,  21 

Snow  is  falling  from  the  dark  winter-evening  sky  upon 
a  wide  valley,  already  buried  deep  in  the  white  and  silent 
covering.  One  of  Hiroshige’s  simplest  and  finest  snow- 
scenes. 

An  exceptionally  fine  impression. 

786 —  Okabe,  22 

A  broad  road  descends  between  two  green-brown  hills. 


vT 


yo 

/ 

/ 


Marusei  Tokaido 


Second  Evening 


787 — Fujiyeda,  23 

Night  rain  falls  upon  harvest  rice-fields,  where  three 
travelers  plod  along  the  road. 

Very  fine  impression. 


po 


788 —  Shimada,  24 

The  wide  river,  which  travelers  are  fording,  flows  by 
under  grey  hills. 

Very  fine  impression. 

789 —  Kanaya,  25 

A  rounded  hill  with  pines  commands  the  river. 

Fine  copy. 


790 —  Nissaka,  26 

A  large  stone  lies  in  the  road ;  beyond,  three  great  trees 
rise  against  a  luminous  blue  sky  flecked  with  snowy 
clouds. 

Exceptionally  fine  impression. 

791 —  Iyakegawa,  27 

On  a  plain  near  a  torii,  peasants  are  planting  rice. 

792 —  Fukuroi,  28 

Kites  fly  gaily  over  a  green  plain. 

Very  fine  copy. 

793 —  Mitsuke,  29 

Low,  distant  hills  beyond  a  wide  river. 

Very  fine  copy. 


?  - 
// 


\ 


Second  Evening 


Marusei  Tokaido 


794 —  Hamamatsu,  30 

From  where,  under  two  pine-trees,  the  waves  foam  on  the 
grey  shore,  the  stormy  darkened  sea  stretches  off  toward 
a  threatening  dark  horizon.  One  of  Hiroshige  s  tri¬ 
umphs  in  expressing  the  mood  of  a  landscape. 

An  impression  of  most  remarkable  quality. 

795 —  Maisaka,  31  .  ,  1 
Men  are  unloading  a  boat ;  high,  green  hills  beyond. 


796— Arai,  32 

View  from  a  green  hill  across  a  wide  sea-expanse  toward 
distant  Fuji. 

Very  fine  impression. 


797 —  Shirasitka,  33 

A  road  winds  up  to  green  hills  overlooking  the  sea. 

798 —  Futakawa,  34 

On  a  road  between  two  tea-houses,  travelers  are  halting. 


799 — Yoshida,  35 

A  festival-procession  approaching  a  river. 


Fine  copy. 


Marusei  Tokaido 


Second  Evening 


800 —  Goyu,  36 

Under  a  willow,  three  travelers  walk  beside  a  river ; 
green  hills  and  Fuji  rise  beyond. 

Very  fine  impression. 

801 —  Akasaka,  37 

An  inn  stands  open  to  the  dusky  street. 

802 —  Fujikawa,  38 

A  daimyo  procession  winds  down  between  two  green  hills. 

803 —  Okasaki,  39 

From  a  great  bridge  one  sees  bamboos,  a  castle  and  far 
hills. 


804 —  Chikiu,  40 

Six  porters  carry  huge  boxes  along  a  tree-bordered  road. 

805 —  Narumi,  41 

Two  women  are  talking  in  a  village  street. 

Very  fine  copy. 

806 —  Miya,  42 

Looking  down  from  a  height,  one  sees  inlets  and  the  sea 
strewn  with  boats. 

Very  fine  impression. 

807 —  Kuwana,  43 

A  full-sailed  boat  loaded  with  passengers  sweeps  across 
the  blue  water. 

Extremely  fine  impression. 

808 —  Yokkaichi,  44 

In  the  village  street,  a  pale  orange  torii  rises  against 
the  rose  and  blue  sky. 

An  exceptionally  fine  impression. 


) 


/ * 


//- 

( 


809 —  Ishiyakushi,  45 

Coolies  and  horses  pause  at  dusk  in  a  village  street. 

A  very  fine  impression. 

810—  Shono,  46 

On  a  road  amid  autumn  rice-fields,  laborers  are  burn  in  u 

o 

straw;  the  smoke  ascends  against  a  dusky  sky. 

An  impression  of  very  remarkable  quality. 

811 —  Kameyama,  47 

Beyond  a  court  appears  the  moat  of  a  castle. 

Fine  copy. 


Second  Evening 


Marusei  Tokaido 


812 — Seki,  48 

From  the  black  wintry  sky,  heavy  snow  falls  on  the  far 
hills  and  on  the  pale  orange  torii  in  the  foreground. 

An  impression  of  very  remarkable  quality. 


813 — Sakanoshita,  49 

Five  travelers  on  a  road  beside  a  green  hill. 


814 — Tsuchiyama,  50 

Three  travelers  on  a  path  where  a  river  flows  among 
rocks. 


815 —  Mizukuchi,  51 

Up  a  winding  path  between  hills,  two  men  and  a  bullock 
are  plodding.  Above  them,  luminous  fleecy  clouds  light 
the  sky. 

An  extremely  remarkable  impression. 

816 —  Ishibe,  52 

The  courtyard  of  an  inn  at  dusk. 

Very  fine  impression. 

817 —  Kusatsu,  53 

In  a  land-locked  bay,  boats  are  coming  to  shore;  one  is 
lowering  its  sail. 

Very  fine  impression. 


Marusei  Tokaido 


Second  Evening 


818 —  Otstj,  54 

A  village  street  with  travelers. 

819 —  Kyoto,  55 

The  dusky  hills  and  temples  of  Kyoto,  seen  from  one  of 
the  bridges. 

A  very  fine  impression. 


THE  ONE  HUNDRED  VIEWS  OF  YEDO 

In  this  enormous  series  of  119  plates,  Hiroshige  touched 
the  heights  and  the  depths  of  his  career.  Such  plates  as  the 
Eagle,  Dusk  on  the  Sumida ,”  and  several  dozen  others,  ex¬ 
hibit  all  the  subtlety  of  his  fresh  and  poetic  Lake  Biwci  Series, 
and  also  a  majesty  of  conception  which  his  earlier  work  did  not 
possess.  But  other  plates,  such  as  the  catastrophic  “ Boatman 
with  the  Hairy  Legs,”  or  the  inane  “ Rear  View  of  a  Horse  ” 
are  simply  the  decay  of  a  great  genius.  All  such  worthless 
plates  have  been  omitted  here.  The  series  was  published  at 
various  dates  between  185(3  and  1858.  Hiroshige  himself  re¬ 
garded  the  series  as  a  whole  as  “ The  Masterpiece  of  His  Life,” 
and  so  inscribed  the  title-page. 

820 — Nihonbashi 

The  Sumida  River  and  its  shores  after  snow. 

Fine  copy. 


821 —  Kasumi 

A  street  overlooking  the  bay;  kites  flying. 

822 —  Tsukuda  jima 

Moonlit  night  over  dim  water,  where  boats  are  moored 
and  fishers  are  using  lighted  flares. 

Fine  copy. 


828 — Ryogoku 


View  past  a  scaffolding-tower  to  the  river,  roofs  and 
Fuji. 


Second  Evening 


Hundred  Yedo 


824 —  Hatsune  no  Baba 

Three  long  strips  of  dyed  cloth  are  hung  to  dry  near 
three  grey  willow-trees. 

An  extremely  fine  impression. 

825 —  -Odemma-Cho 

Two  women  in  a  street  of  shops. 

Exceptionally  fine  copy. 


826 —  Suruga-Cho 

Fuji  above  mists  and  roofs. 

Exceptionally  fine  copy. 

827 —  — Miojin  Shrine,  Kanda 

Dawn  from  the  temple-terrace  over  roofs. 

Fine  copy. 

828 —  Kiyomidzu  Temple,  Uyeno 

The  red  platform  rises  from  cherry-blooms,  giving  a 
view  of  pines  and  the  lake  beyond. 

Very  fine  impression. 

829 —  Nippori  Temple  Garden 
Green  hills,  cherries,  and  pines. 

Exceptionally  fine  copy. 

830 —  Suwano  Dai,  Nippori 

Picnickers  on  a  terrace;  a  wide  plain  beyond. 

831 —  Gardens  at  Dangozaka,  Sendaki 

Beyond  cherry-trees  and  bright  mist  rise  steps  to  a  tea¬ 
house  in  a  grove. 

An  unusually  fine  impression. 


0 


7 


832 —  View  From  Asukayama 

Picnics  under  pine  and  cherry-trees  on  a  high  terrace , 
beyond,  a  wide  plain  and  low  hills  with  a  low,  red  sunset 

burning  behind  them. 

A  most  exceptional  copy. 

833 —  Oji 

A  wide  waterfall  and  river  between  blossoming  hills. 

834 —  Kawaguchi  Ferry'  and  Zenkoji  I  emple 

Rafts  on  a  blue  river ;  grey  wooded  shore  beyond. 

835 —  Atago  Hill,  Shiba 

“The  Messenger  to  Bishamon.”  Dated,  Ansei  4  (1857). 


7^ 


Hundred  Yedo 


Second  Evening 


836 —  The  Mock-Fuji  of  Meguro 

Fi  oil!  a  green  lull  shaped  like  Fuji,  the  view  extends 
across  a  wide  valley  to  Fuji  itself. 

An  exceptionally  fine  impression. 

837 —  Chiyoga  Pond,  Meguro 

W  aterfall  and  cherries.  A  design  famous  for  the  reflec¬ 
tions  in  the  water, — one  of  the  few  known  examples. 

838 —  The  Mock-Fuji  of  Meguro 

Another  view  of  it,  with  cherry-trees  around  its  base. 

839 —  Park  at  Mokuboji 

A  winding  stream  under  large  pines.  Two  ladies  are 
descending  from  a  boat  on  the  right. 

Exceptional  copy. 

840 —  Plum  Garden,  Kabata 

The  trees  are  outlined  against  a  rosy  skv. 

A  superb  copy ;  most  examples  are  too  strongly  printed. 

841 —  Gotenyama,  Shinagawa 

A  plateau  with  cherry  trees,  beyond  a  brook.  Yellow 
cliffs. 

842 —  Gotenyama,  Shinagawa 

The  same  subject,  but  different  printing.  Grey  cliffs. 


843 - SUNAMURA 

Wide  view  over  marshes  and  sea. 

844 —  Grove  in  Adzuma  Shrine 

A  causeway  bordered  with  cherries  leads  to  the  shrine. 

845 —  Sanyabori  Night  Scene 

A  girl  is  walking  in  darkness  along  the  Sumida  River; 
on  the  dark,  farther  shore  shine  the  lights  of  tea-houses, 
and  there  are  stars  in  the  sky,  which  are  reflected  in  the 
water. 


An  impression  of  the  highest  quality. 


Second  Evening 


Hundred  Yedo 


846 —  Suijin  Woods  on  the  Sumida 

Rosy  cherry-blossoms  against  the  blue  sky. 
Fine  copy. 

847 —  Neighborhood  of  Maisaka 
River-sunset  seen  through  a  round  window. 

Fine  copy. 

848 —  Daybreak  at  the  Yoshiwara  Gates 
A  famous  rendering  of  early  dawn. 

Very  fine  copy. 


ye 

V 


849 — Camelia  Hile,  Sekiguchi 

Pines  and  cherries  on  a  slope  beside  a  winding  stream. 


850 — Hachiman  Shrine,  Ichigaya 

Temple  on  wooded  hill ;  streaks  of  mist  below. 


Hundred  Yedo 


Second  Evening 


851 — Banks  of  the  Tamagawa 

A  row  of  tall  cherries  bloom  along  the  curving  stream. 


852 — Kanda  River 

Slanting  rain  falls  from  the  black  sky  upon  the  blue 
river  flowing  between  green  banks. 

Very  fine  copy. 


853 — Fudo  Waterfall,  Oji 

The  straight  cascade  plunges  between  green  cliffs. 


851 — Kiribata,  Akasaka 

Two  Paulownia  trees  silhouetted  against  a  dark  sky. 
The  plates  for  this  print  were  early  destroyed,  and  it 
does  not  appear  in  later  editions. 

Very  fine  copy. 


855 —  Kiribata,  Akasaka 

An  extremely  fine  rain  and  mist  scene,  by  Hiroshige  II. 
This  plate  took  the  place  of  No.  854  in  all  later  editions. 
An  impression  of  exceptional  quality. 

8 56 —  Sumiyoshi  Shrine,  Tsukudajima 

A  tall,  white  banner;  sea  background.  Dated  Ansei  4 
(1857). 

857 —  Mannen  Bridge,  Fukagawa 

A  turtle,  for  sale,  hangs  in  a  window ;  a  landscape  and 
Fuji  appear  beyond. 

Extremely  fine  copy. 

858 —  Shubi  no  Matsu 

Night  on  the  river;  a  pine-branch  stretches  across  the 
stars. 


3  6 


t 


859 — Komagata  Temple 

A  swallow  speeds  before  the  coming  storm ;  rain  is  al¬ 
ready  falling  on  the  lake.  Definitely-outlined  clouds  in 
the  sky. 

An  extremely  fine  impression. 


860 — Komagata  Temple 

The  same  subject  ;  but  here  the  clouds  are  mere  wisps. 
A  very  fine  impression. 


Second  Evening 


Hundred  Yedo 


861 — Shower  on  Ohashi  Bridge 

One  of  Hiroshige’s  greatest  and  most  famous  rain- 
scenes. 

A  superb  impression  in  every  respect. 


0 


862 —  Iris  Garden,  Horikiri 

The  large  blooms  fill  the  foreground;  sunset  over  the 
fields  beyond. 

An  exceptionally  fine  impression. 

863 —  Wistaria  at  Kameido 

The  purple  blooms  trail  over  the  blue  water  near  a 
round  drum-bridge. 

Very  fine  impression. 


864 — Sakai  Ferry 

White  herons  descending  to  the  blue  marshes. 
An  impression  of  exceptional  softness. 


Hundred  Yedo 


Second  Evening 


865 —  Hachiman  Shrine,  Fukagawa 

Water  winding  among  vivid  trees  and  bushes. 

866 —  The  Tone  River 

A  great  fishing-net  is  flung  out  from  the  right ;  on  the 
left,  a  view  of  the  shore  with  two  flying  herons. 

An  impression  of  extremely  exceptional  quality. 

867 —  Asakusa  From  the  Sumida  River 

A  boat  floats  on  the  water  amid  falling  cherry-petals. 

868 —  Ayase  River 

Under  silhouetted  mimosa  blossoms,  a  boatman  guides  a 
raft  down  the  river. 

Exceptionally  fine  impression. 

869 —  Tanabata  Festival 

Flags  and  streamers  float  gaily  above  the  housetops. 

870 —  Takegashi  Kyobashi 

A  great  moon  rises  beyond  dark  lumber-yards  that  front 
the  river ;  down  under  a  high  bridge  a  man  is  poling  a 
boat. 

An  impression  of  very  exceptional  quality. 

871 —  Hongwanji  Temple 

The  temple-roof  rises  across  the  river. 

872 —  Shimmei  Shrine,  Shiba 

A  group  of  worshipers  in  the  courtyard. 

Fine  copy. 

873 —  Ushimachi,  Takanawa 

A  cart-wheel  to  the  right ;  beyond,  an  arching  rainbow. 

874 —  Moon  Promontory 

A  room  in  a  tea-house  opens  to  a  lovely  glimpse  of 
moon-lit  evening  sea. 

A  superb  impression. 

875 —  Susaki  in  Shinagawa 

Beyond  a  shrine  on  a  promontory  stretches  the  tranquil 


Second  Evening 


Hundred  Yedo 


876 —  Old  Man’s  Tea-House,  Meguro 

View  from  a  hill  across  plains  toward  Fuji. 

Fine  copy. 

877 —  Takino  River,  Oji 

A  waterfall  and  wooded  cliffs  against  a  delicate  sky. 


5 


87 8 — Saru  WAKACHO 

A  flood  of  silver  light  from  the  pale,  full  moon  pours 
down  upon  the  street  of  tea-houses.  An  extremely 
famous  print. 

An  impression  of  the  highest  quality  in  every  way. 


879— Akiba  Shrine,  Ukeji 

From  the  grey  shores  of  the  lake,  rich  autumn  maples 
lean  out  over  the  water,  which  gives  back  their  reflection. 
There  is  some  evidence  for  the  theory  that  the  old  man 
who  is  sketching  in  the  lower  left-hand  corner  is  Hiro¬ 
shige  himself. 

A  superb  copy  of  this  famous  print. 


H 


0 


880 —  The  Tone  River 

A  green  cliff  that  surveys  a  river,  wide  fields,  and  Fuji. 
An  exceptionally  delicate  impression. 

881 —  Horiye  Nekozane 

Marshes,  a  river,  a  village,  and  mist;  far  off,  Fuji. 


7 


882 — Pines  on  the  Onagi  River 

The  great  pine,  supported  by  poles,  overhangs  the 
stream. 


883 — Fireworks  at  Ryogoku 

A  rocket  bursts  in  a  haze  of  light,  high  over  the  dark 
Ryogoku  Bridge.  The  shore  beyond  is  dim;  on  the  blue 
river  lanterns  shine  out  on  boats. 

A  remarkable  copy.  Usually  the  rocket-stars  have  no  glow 
around  them,  and'  the  night  effect  is  inferior.  The  British 
Museum  Catalogue  reproduces  a  copy  not  quite  so  fine  as  this, 
with  the  remark  that  “ this  state  of  the  print,  is  very  rare.  The 
effect  is  much  more  subtle  and  atmospheric  than  in  the  ordinary 
impressions.” 


Hundred  Yedo 


Second  Evening 


884 —  Mamma,  Tekona  Shrine 

A  superb  and  soft  impression  of  this  famous  print. 

885 —  Kinriuzan,  Asakusa 

A  huge  lantern  hangs  in  the  gateway  before  a  snowy 
temple-court. 

An  extremely  fine  soft  impression. 

886 —  The  Embankment  to  the  Yoshiwara 

The  dark  landscape  stretches  away  under  an  evening 
moon. 

An  impression  of  exceptional  softness. 

887—  Asakusa  Tampo  Tori  no  Machi 

The  famous  “Cat  in  the  Window.” 

A  superb  impression. 

888 —  Mikawashima,  Ivanasugi 

A  crane  flying  down  to  a  pool. 

Superb  impression. 


U  si 


1 


fS 


<L> 


Second  Evening 


Hundred  Yedo 


889 — Ivomme-Dzutsumi 

Grey  trees  in  foreground;  many  bridges  over  a  stream. 


890— Dusk  on  the  Sumida  River 

One  of  the  masterpieces  of  the  series,  when  properly 
printed, — which  is  rarely.  Accompanying  this  print  is 
another  impression  in  the  usual  printing,  pale  and  char¬ 
acterless.  A  comparison  of  the  two  is  a  liberal  educa¬ 
tion  in  the  importance  of  good  impressions. 

^Reproduced  in  “Chats  on  Japanese  Prints,”  Plate  55. 


891 — Kiba,  Fukagawa 

A  timber-yard  in  falling  snow,  under  a  delicate  grey  sky. 
Most  copies  of  this  print  are  ruined  by  a  streak  of  blue 
down  the  center. 

A  superb  copy  in  every  respect. 


892 —  Shiba  Coast 

Sea-birds  flit  over  the  waves. 

Extremely  fine  impression. 

893 —  Seashore,  Samezu 

A  far  expanse  of  coast,  with  red  sunset  beyond. 


891 — Senzoku  Pond 

A  wide  scene  of  pine-grown  peninsulas  and  lagoons. 

A  remarkable  impression,  printed  in  tones  of  blue  and  yellow. 
Very  few  Hiroshige  prints  in  this  odd  tone  are  known. 


891^-Evening  Snow  on  the  Drum  Bridge,  Meguro 

All  is  white  and  grey  except  the  few  figures  on  the 
bridge,  and  the  blue  water. 

A  superb  impression. 

895 — Evening  Snow  on  the  Drum  Bridge,  Meguro 

The  same  print,  but  with  brown  shading  on  the  bridge. 

An  impression  of  extremely  fine  quality. 


v.Y> 

r>  ' 


896 — Yabukoji,  Atagoshita 

A  stream  flows  beside  a  snow-covered  street;  above,  /,  . 
sparrows  fly  about  among  snow-laden  bamboos.  One  of 
the  most  charming  prints  of  the  series. 

An  impression  of  superb  quality. 


Hundred  Yedo 


Second  Evening 


897 —  Eagle  Above  the  Snowy  Plain 

The  unforgettable  magnificence  of  this  conception  places 
it  among  Hiroshige’s  masterpieces. 

A  superb  copy. 

898 —  Bikuni  Bridge  in  Snow 

Large  sign  to  the  left;  dogs  to  the  right. 

Very  fine  copy. 

899 —  Outside  Tora  Gate 

A  mysterious  scene  of  moon  and  stars. 

Superb  impression. 

900 —  Baba  in  Takata 

Nobles  at  archery  practice. 

Extremely  fine  impression. 

901 —  Fox-Fires  at  Oji 

A  superb  impression  of  one  of  Hiroshiye’s  most  famous  niyht- 
masterpieces. 


RANSOM  PTG  CO  .  MOLINE.  ILL 


